Neomanila posterWhat kind of future can there be on the streets of Duterte’s Philippines? For one orphaned son of Manila’s slums, the only answer he can see is none at all. “I’m going to die no matter what I do”, he tells a surrogate maternal figure whose conflicted maternity will eventually bring about ruin for them both. Mikhail Red’s Neomanila is the latest in a string of films to examine the social costs of Duterte’s “Extra Judicial Killings” of “Drug Dealers” often conducted by vigilante bounty hunters working with the tacit complicity of legitimate law enforcement. Inheriting a world of corruption where life is cheap and sensitivity breeds despair, boys like Toto (Timothy Castillo) find themselves caught in the crossfire of an increasingly heartless regime.

When we first meet Toto, he’s trying to visit his older brother, Kiko (Ross Pesigan), who has been rounded up by the police in a drug dealer trawl. Kiko is small fry – a petty gangster only peripherally connected with the drug trade, but the police are holding him in the hope of tracking down another suspect, Ringgo (Edwin Nombre). The problem is, unbeknownst to Kiko or to Toto, Ringgo is already dead – he was the dealer we just saw gunned down in the street by a hired assassin. Trying to figure out how to get the bail money together for his brother, Toto pays a visit to a local gang boss and then hangs out with his girlfriend Gina (Angeline Andoy) in between running petty errands for the gang. One particular job brings him into the orbit of Irma (Eula Valdez) – a woman running a “pest control” business who used to know his mother before she was killed in a fire in the slums some years ago. Irma offers him a job in her store, but Toto quickly becomes aware that Irma runs a lucrative sideline as a hitwoman for hire. Together with her partner (both romantic and crime) Raul (Rocky Salumbides), Irma works for mysterious police handler Sarge who gives the pair frequent assignments to take care of “suspects” and bring home the drugs as well as other kinds of “valuable” “evidence” including phones and weaponry.

Orphaned at a young age, Toto is left entirely alone on the streets of Manila. He’s not a really part of the gang and cannot rely them for familial support and with his brother out of the picture he has no one to stand for him. The quasi-maternal connection he builds with Irma is he closest thing to family he has experienced in quite some time. Irma too, apparently mother to an absent son, quickly takes on the role of Toto’s protector – she gives him her own son’s clothes, feeds him, and later takes him out on trips to the karaoke bar or shopping to buy trainers all while “training” him to become a part of her outfit even whilst believing that Toto is somehow “better” and not “like the other” kids from the slums who get mixed up in drugs and crime through having no other options to survive. Wanting to “contribute” as part of the family, Toto goes along with Irma’s morally dubious education but he is also still a child with a deeply felt sense of humanity and justice and is therefore increasingly conflicted about the duo’s heartlessness and refusal to question their various assignments.

Trapped by the world he has inherited, Toto has few options other than to conform to the harshness of its rules or risk becoming a victim of them. The vision Red paints of modern Manila is one lit by gloomy neon half-light in which gangsters go to mass and priests preach about the seventh commandment while the state itself sanctions bloody murder in the streets conducted by those with vested interests in perpetuating a world of inescapable poverty in which death has become an industry. Drenched in despair and unbelievably bleak, Neomanila is a story of a city eating itself alive in which there is no future, no possibility of salvation, and innocence is just another weakness to be burned on an altar to (im)moral austerities so that the world might feel “safer” to those who live in fear of its self-created evils.


Neomanila was screened as part of the New York Asian Film Festival 2018.

Original trailer (English subtitles)

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

w

Connecting to %s