The only musical among entries to the 2024 Metro Manila Film Festival resonates like a hymn in a post-colonial cloister
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My grandmother was a UP-trained educator. She became the principal of our province’s main high school. She had been a devout Catholic, then a devout Evangelical, then a devout Catholic again — she concerned herself with God and compliance with the holy will. But in her despair and disbelief in her doctor’s prognosis, she tried everything to access supernatural unction, never mind the orthodoxy of the source.
And always, the question is, do we believe them? Do we put their word above what our own senses tell us? What would it mean for us if they were telling the truth? And what would it cost us if we believed them and they turned out to be frauds? Predestination by a perpetually displeased God was a convenient concept for the religious orders that enforced Spanish colonial rule. To Filipinos, God’s face became that of the scowling, disgusted friar; the proper response to His wrath — the tortured heart and despondent disposition of the Lady of Sorrows.
In the film, this is where Elsa learns to become honest with herself and to listen to the people around her. She takes in the impact of her actions and acknowledges her responsibility. She then decides to take accountability.
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