Die Beautiful is one of the most original films to have come out recently, which seems ironic at first considering the following storyline: Patrick (Paolo Ballesteros) grows up as a young boy who is a fan of beauty pageants. He clashes with his father (Joel Torre), who does not agree with his identity and who later evicts him out of the house. Patrick then becomes Trisha Echevarria, and along with BFF Barbs (Christian Bables), she makes a living as a beauty pageant contestant. Hardly anything new as far as LGBTs’ lives are concerned.
But the film goes way beyond those bullet points: there may be a common story among LGBTs, a template of pain and suffering, if you will, but it’s the details that need to be told. Director Jun Lana and screenwriter Rody Vera flesh them out tenderly, not only in flashbacks, but also in a non-linear way; after all, layers aren’t always peeled in the correct order. As the film remained deftly edited—not once did I get lost in the plot despite the alternating timelines—I thought it was a well-maneuvered approach to the typical coming-of-age story.
It is after all, Trisha’s coming-of-age story. I normally dislike the phrase, thinking it’s a cop out for teenage movies which gratuitously feature sex and drugs, but in Die Beautiful, Paolo’s Trisha is treated with such respect that despite the ugliest scenario, she remains… well, beautiful. If there were anything gratuitous in the film, they were the “beaucon” jokes and I hope they’re not what the viewer came to see the movie for. That’s why it’s interesting how Lana takes the unsuspecting viewer for a ride: the beaucons and Paolo’s makeup transformations are nothing compared to what awaits the audience, a semi-Stockholm syndrome which Lana never quite resolves (intendedly), leaving us to wonder whether she should have indeed walked out of or stayed for true love. And isn’t that a beautiful metaphor for LGBT rights in the country?
Film rating: 4.5/5