My review for the first Ang Babae sa Septic Tank (first published in my blog, and later, in PDI) couldn’t be more glowing—I found it way too short. For this sequel, I found myself looking at my watch and preparing to sleep, except the old dude behind me had beaten me to it and started snoring.
Eugene, who plays herself with what we assume are artistic exaggerations, had barely enough screen time to satiate our appetite for her perfect comic timing and wit.
This time, it was all Eugene. Unfortunately, the screenplay left her with nothing to do except rattle off formulaic suggestions to what was supposed to be a “serious” romantic film penned and to be directed by Ranier (Kean Cipriano). Thus, one-third of the film is devoted to torturing the audience with local romantic comedy banalities that the filmmakers are supposedly railing against.
And this was so boring. Whereas the first movie commented on the state of indie filmmaking and the inclination to exploit the poor (poverty porn), romcoms are hardly anything to be angry about especially compared to the larger issues in the country today.
This self-mockery is what makes “Ang Babae” both comical and enlightening: where does one draw the line between exposing and exploiting the truth? How do you present this truth in an honest way? And why not a musical?
And maybe, because there’s ultimately nothing to rage about romcoms (walang panghuhugutan), there wasn’t enough motivation to seek this truth. (Translation: 1.5 hours would be too long to make a competent commentary on local romcoms and writer Chris Martinez knew that.) It was only during the last 20 minutes of the film when Eugene, in a stunning turn of serious acting (because prior to this scene, all she had been doing were sketches), and Kean began to engage in a debate about this “truth” that my brain kicked into first gear and started thinking, but their conversation lasted only for 5 minutes and that was that.
Without leaving a spoiler, I loved the cameos toward the end; I thought how self-assured of them to take on their roles.
My rating: skip this in the MMFF lineup. After this and the Kimmy Dora sequels, Chris has Here Comes the Bride left to botch. I hope he leaves it as it is.