The concept of identity in the Asian Americans who were either born or moved in the US is one of the main concepts of the particular cinema. Andrew Acedo deals with the same through a Filipino prism, in a 16-min short that ends up being an erotic romance as much as a social drama.
“Good Filipino Kids” is screening at New Filmmakers Los Angeles
The film begins during a gathering in an American-Filipino house, where a couple, Ashley, who grew up in the US, and Francis, who grew up in the Philippines, are talking about attending the “Praise God” church ceremony, even though the former is not particularly keen on religion as a whole. Meanwhile, the men and the women in the house of Francis, comment on the girl, highlighting both their stereotypical thinking as much as their sex. The “guys” are talking about how good-looking she is, with one guest especially being particularly creepy about it, while the women talk about the way she is dressed, and the fact that she has not graduated from college like her boyfriend. The couple are bickering a bit in the car, since Francis does not like the fact that she does things she is not telling him about, while during the ceremony in the church, they face another crisis. The main singer of the band that plays there is Rachel, Francis ex, and also a rather condescending individual, as her annoying discussion with Ashley highlights. Jealousy creeps in eventually, but Ashley decides to use the feeling for something more pleasurable.
The difference of culture presented in the story are a bit cliched, since Francis’s one are all about familial ties and religion, having grown in the Philippines, while Ashley is a ‘free spirit” who knows almost nothing about her father and feels disconnected from her mother, in a more Western “standard” regarding families. Despite the stereotypical approach, however, the comments in that regard do ring as realistic, particularly if one considers the protagonists as archetypes of their respective demographics, while the fact that the movie closes in a way that states that love and relationships can flourish through difference, is essentially pragmatic, if somewhat optimistic.
Also of interest here is the way the movie includes a rather steamy sex scene (not through nudity, but mostly through words and sounds), in a rather unusual element for a short movie, that adds, however, a very appealing element of titillation, which also works well due to the surprising path it follows.
The antithesis of the two protagonists, both in demeanor and attire, also works well, with Francis having a “well-bred-boy” style and Ashley being essentially punk and sexy, with the two actors, Reden Magtira and Anais Noveras, highlighting their differences in the best way possible, also showcasing their evident chemistry. Evyn Mirasol as Rachel is also quite good in her “bitchiness” with the casting and acting overall being among the best aspects of the movie.
Also of note is Acedo’s own editing, with the cuts to the people beyond the couple during the gathering being quite entertaining, as much as an excellent medium of presenting the particular comments. Vonmay Mendoza’s cinematography consists mostly of close ups, and also works well, especially in the scenes in the car.
“Good Filipino Kids” is an excellent movie that manages to make its comments in eloquent and entertaining fashion, while benefiting the most by the acting, the direction and the production values, in a testament to the progress of Asian-American cinema.
