LSS (Last Song Syndrome) (Jade Castro, 2019)

“This is Love!” exclaims the heroine somewhat excitedly, though her romantic declaration turns out to be a tongue in cheek reference to the PJ Harvey song rather than a heartfelt confession. LSS (Last Song Syndrome) finds its lovelorn millennials chasing their romantic dreams but seemingly stuck in a relatable loop of heartbreaks and disappointments. They meet and then part only to brush past each other sometimes knowingly sometimes not, but somehow give each other strength as they battle the sense that their dreams are not destined to come true, yet love is less a goal in its own right than the freedom it offers to be all of who you are.

Sarah (Gabbi Garcia), a struggling singer-songwriter working a host of part-time jobs to put her younger brother through college, meets Zack (Khalil Ramos), a graphic designer, on a bus after he nervously switches seats to avoid a man with an obvious cold. Unbeknownst to Zack, Sarah had already spotted him in the queue because he was singing along to a song she likes by up and coming indie band Ben&Ben. She strikes up a conversation about music and they have a good laugh that they’re called Zack and Sarah like the Ben Folds song, eventually sharing their anxieties as they bond over a shared taste in indie pop. Sarah reveals that she doesn’t really like Ben&Ben, or she does but feels conflicted because she took part in the same newcomers workshop they did and now they’re superstars and she’s struggling to get ahead, while Zack tells her that he’s on his way to see his “best friend” with whom he’s been secretly in love for the last five years and is hoping tonight might be the night. Even so, Zack is evidently smitten and a connection has been made, but they each get off the bus and head in different directions without swapping contact details, thinking it’s one of those crazy one time encounters. 

Meanwhile, we watch them both remain in sync battling twin heartbreaks as each of their dreams goes in for a series of batterings. Zack shows up at Cha’s (Iana Bernardez) apartment and discovers she’s started dating someone else, a girl, earlier that day and realises he’s missed his chance again. Sarah gets fired from her part-time job and breaks up with her annoyingly conservative boyfriend Elmer (Eian Rances) who tells her that her dreams of becoming a musician are unrealistic while planning to open some kind of “networking” business selling dodgy cosmetics. Elmer’s words get to Sarah, but because of her meeting with Zack who told her that he believed in her dream because she has great taste in music, she has the strength to tell him where to go and double down on getting into the music industry.

That means, for a time at least, coming at it from the other side. Sarah swallows her pride and asks Ben&Ben for a job as a roadie. They aren’t very supportive (perhaps oddly seeing as the band play themselves in this movie that heavily features their music and is all about how they save love), but their manager remembers her and gives her a job when she applies for an assistant’s position through the regular channels. Zack, meanwhile, is still listening to Ben&Ben and hoping to run into Sarah at a concert someday while secretly planning to meet up with his estranged father behind the back of his kind of amazing taxi driver mum (Tuesday Vargas) who keeps needling him about his lack of romantic success (in the most playful of ways). 

Zack’s first sense of heartbreak is romantic, realising that Cha just doesn’t see him that way and that isn’t going to change. His second is familial in realising he can’t change the way the people he loves feel, and that has to be OK. Sarah’s heartbreaks, meanwhile, are largely professional as she struggles to convince those around her that she has what it takes to make it while seeing others pull ahead as she languishes backstage. Castro brings the pair together at their lowest point, allows their love to let them blossom, but then sets them apart again in the most amicable of ways. “Go chase your dreams, Sarah”, Zack tells her, supporting from the sidelines as he always has. Love is not the dream, but it is a bridge to one. You might have to let it wander for a while, but it’ll come back round eventually when it’s ready, better and stronger for having figured itself out on its own. And until then, you’ll always have Ben&Ben. 


LSS (Last Song Syndrome) screened part of this year’s Osaka Asian Film Festival.

Original trailer (no subtitles)

Ben&Ben’s official website.

Music video for Ben&Ben’s Araw Araw featuring actors Gabbi Garcia and Khalil Ramos

Sid & Aya (Not a Love Story) (Irene Villamor, 2018)

Sid & Aya posterIn an increasingly commodified society can there still be room for genuine connection? Sid and Aya attempt to find out in Irene Villamor’s deceptively titled Sid & Aya (Not a Love Story). Sharing much in common with Peter Chan’s Comrades: Almost a Love Story (save for the obvious political allegories), Villamor’s film is a refreshing antidote to the sometimes saccharine, soap opera influenced romantic comedies which often dominate the Philippine box office, swapping classic melodrama for low key indie feels. Yet as much as Sid & Aya is a “love story”, just not of the usual kind, it’s also a perfect encapsulation of a modern social relations as its cynical, amoral hero begins to rediscover his soul through getting to know the tough as nails, wounded but persevering heroine.

Workaholic stockbroker Sid (Dingdong Dantes) is a chronic insomniac. He doesn’t really know what keeps him up at night. He’s read that the causes of sleeplessness include regret, self blame, overthinking, anger, depression, and loneliness but those are things Sid doesn’t particularly want to engage with and so he just muddles through, wasting time in all night coffee shops. It’s in just such a shop that he first runs into Aya (Anne Curtis) – a waitress, and as we will later discover, dry cleaner and performer in a theme park. Aya’s life is very busy but she could always use more cash seeing as she is supporting most of her family including a sickly father and pregnant younger sister while her mum has been working in Japan for almost 20 years, and so she finds herself giving in to Sid’s unusual business proposition – that he pay her for her time while she chats to him to keep his mind off the fact he’s not sleeping so he doesn’t have to keep torturing himself over why that is.

There’s no getting around the fact that it’s an usual arrangement. Money can’t help but complicate everything, but it also makes it easier for the impossibly repressed Sid to begin opening up seeing as this is all transaction and not connection. The pair inevitably grow closer despite the unusual genesis of the relationship, falling in love despite themselves, but Sid is still too busy dealing with the ghosts of the past and his greedy, success hungry insecurity to be willing to take a “risk” on real love rather than take his soulless relationship with his equally soulless “girlfriend” to the next level.

Sid and Aya come from completely worlds. He has an extremely well paid job as a stock broker, she is working three (now four if you count spending time with Sid) jobs just to get by, barely sleeping and still having no money left over to spend on herself. Sid wastes no time letting Aya know that he “fucks people over” for a living, and though he professes to feel no guilt for his part in perpetuating the shadier aspects of capitalism, his world weary voice over betrays a conflict he doesn’t quite want to voice. He starts off thinking he can buy anything, that his money buys him infinite power over people and things. Sid tries to buy Aya, but Aya can’t be bought – she takes his money, but she remains free.

Attempting to escape familial legacy of failure and abandonment, Sid has closed his heart and committed himself to achieving conventional success while Aya has run in the opposite direction – trying to repair her broken family by making enough money to bring her long absent mother back from Japan. Aya’s family has been scattered by the same forces that Sid has chosen to uphold, forces which also threaten to destroy their nascent romance through a series of conflicting world views coupled with personal insecurities and social expectations. Yet the connection forged between them is real enough to have each of them running scared.

Sid claims he has no time for people he doesn’t “need”, while Aya claims she’s tired of loving the people she “needs” to love. Though they perhaps mean very different things with the word “need”, both remain nervous about addressing what it is they might “want” when acquiring it requires so much risk. Love is not something a cynical man like Sid would feel inclined to bet on, but there’s no prize without risk and no sense in taking the chance if you’re not going to bet it all. A messy, grown up romance Sid & Aya (Not a Love Story) is a refreshingly clear eyed look at modern love which finds that true connection is possible but only when you decide to change the game.


Sid & Aya (Not a Love Story) was screened as part of the 2018 New York Asian Film Festival.

Original trailer (English subtitles)