Sexual awakenings have always been a theme that cinema loved, with the coming-of-age category being of the most popular internationally. Recently, however, and as LGBT themes have started to appear more on the big screen, particularly in independent cinema, the concept has taken a rather different turn. Ryan Machado, in his feature debut, deals with the particular aspect of the theme, while placing his story two decades ago.
Love and Videotapes is screening at Jogja-Netpac Asian Film Festival
The story takes place during the summer of 2001, in a small town in the Philippines. 16-year-old Andoy is living with his mother’s sister and her husband, who is not particularly keen on him, while his mother is away, working. At the same time, he is looking for his long-lost father in the most unlikely places: VHS tapes of a local video store, along with his best friend and also movie buff, Pido. The presence of Ariel, a local trans man who runs a hairdresser’s, and Isidro, a rather beautiful young man, result in Andoy experiencing a gay awakening, while connecting with the local queer community. Life, however, is never that easy.
There is an issue with Ryan Machado’s film, which actually becomes quite evident from the beginning. Perhaps it is the lack of music on specific moments or the somewhat TV-like approach to the visuals, but the movie quickly emerges as somewhat flat, despite the fact that the story is interesting. This sense continues to the end, with some exceptions, though, that make the result move just beyond average.
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In that regard, the sense of nostalgia the particular era emits, as much as the love for movies through VHS tapes, add two very entertaining elements in the narrative, which actually encompass the rest of the story. Furthermore, the combination of Andoy realizing his homsexuality in a rather conservative small town, his first sexual awakenings, his friendship/mentorship with Ariel and the way it affects the one with Pido, and his family situation create a very interesting amalgam, that actually carries the movie from beginning to end.
At the same time, the comments about the particular type of awakening in the particular setting are also interesting and well presented, while the ‘feud’ with his aunt’s husband adds a very entertaining note that does move, though, into more ‘fairy tale’ paths.
Theo Lozada’s cinematography captures the era with realism, while on occasion, his framing is impressive, particularly in the voyeuristic scenes. Kurt Abrahan and Mark Cyril Bautista’s editing could have been better, particularly in regards to the pace, which does result as somewhat slower than it could be. This issue, along with the overall lack of tension for the most part, result in the aforementioned ‘flatness’.
Mark Shun as Andoy is convincing in the role, without particular exaltations though, perhaps with the exception of his excellent chemistry with Bon Andrew Lentejas as Pido, which finds its apogee in the movie-discussing scenes. From the rest of the cast, Serena Magiliw as Ariel definitely stands out, particularly in the comical scenes.
There is nothing particularly wrong with “Love and Videotapes”, but there is nothing remarkable either, perhaps with the exception of the retro nostalgia and the whole concept of the awakening. As such, the movie can be described as above average, but that is where the bar stops.
