Acensbart
Excellent but underrated film
Portia Hilton
Blistering performances.
Philippa
All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.
akash_sebastian
'The Blossoming of Maximo Oliveros' is such a beautiful take on Manila street life. The themes of poverty and homosexuality are out there in the movie, but the movie doesn't try to sensationalize them; they just act as a backdrop, and add flavour to the story. Both the themes are explored with refreshing honesty, and shown as a reality to be accepted and lived. The movie is essentially about family, love, and crime. Despite the themes, the content in the movie is quite PG; therefore it can be enjoyed by a person of any age.The lead character, 12-year old Maximo (Maxi, as he's affectionately called), is a flamboyant young guy who spends his days watching movies with friends and collecting bets for his brothers. After his mother's death, he has taken over the household duties of cooking, cleaning, etc. Being an openly effeminate lad living in a slum, you would expect him to be an object of chide and ridicule, but it's not the case. Instead, we see him being accepted and loved quite lavishly by everyone around, with no questions asked. The story mainly shows how Maxi is torn between his love for a young police officer and his loyalty towards his family, comprising of his dad and hoodlum brothers.All the characters in the movie and intriguing, well-developed, and quite lovable; no matter what they do or end up doing, you can actually sympathize and see where they come from. The movie has a very sweet and unique charm to it, right from the very beginning scene, where you see Maxi walk home in his usual flamboyant way, and his eldest brother (standing among friends) pulls his leg by asking, 'Who have you been flirting with?', and Maxi mocks their laughter. Despite the Christian influence in the town, you can see (ironically) how the people are much more acceptant and tolerant than their urban counterparts.The camera-work has quite an indie feel to it, but it doesn't come off as trying too hard. You get lost in these characters' day-to-day lives. The acting by everyone involved is quite brilliant; it almost seems like a documentary. The film has so many moments which melt your heart completely - when Maxi tries to be on his elder brother's side when their dad is abusing and hitting him for something seriously bad he did, when Maxi takes care of the police officer after his brothers beat him up, When Maxi's second brother consoles him after hi love has been rejected, when Maxi is trying to convince his brothers not to set out for revenge. Besides these scenes, the movie is filled with quite a few unique and memorable scenes. Do yourself a favour - if the movie strikes some deep emotional chord with you, please let yourself cry. Many things happen towards the end, and you can see young Maximo blossoming out of his naivete and innocence. The ending is quite emotionally satisfying.It's a delightful and heartwarming film; with proper exposure, it could very well become a modern-day classic.
Prometheus Brown
Though its a thoroughly Catholic-dominated country, the Philippines is said to have a more lax attitude towards "the gay" than other more liberal, democratic countries, like the one I live in. Many point to its cinema as evidence of this. Of course, this is from the outside looking in. LGBT folks, particularly the effeminate "bakla" male, might be commonplace in Philippine film, but the ones we don't see on screen face a particular type of oppression. They are often an object of ridicule, stereotyped as shallow, loud-talking and outrageously "mayabang," and usually sex-crazed. And a lot of folks, gay or straight, eat it up.Despite its deceptive marketing (from the DVD cover/promo poster to the trailer), Auraeus Solito's Ang Pagdadalaga ni Maximo Oliveros/The Blossoming of Maximo Oliveros (2006) isn't at all about a flamboyantly gay boy's crush on the hunky neighborhood police officer that happens to be set in a third world barrio. The story is the barrio, and all its contradictions, initially dressed up as a neorealist comedy evoking both Lino Brocka and Bagets at once before taking a darker turn halfway through.Like all good (worthwhile) Philippine stories, its aware of acute third world contradictions without overtly speaking on it. If Brillante Mendoza's work emphasizes people's idealism despite wretched conditions, Solito's flips the formula. His Philippines is one where the people are wretched but the settings, still unmistakably impoverished, can also be a magical, wonderfully pastel-colored place. Maxi (Nathan Lopez) is 12-years old, gay, and plays surrogate mother to his family of petty thieves: tatay Paco (Soliman Cruz) and his older brothers Boy and Bog. The barrio is his playground, until one night he's assaulted by some knuckleheads. Policeman Victor (JR Valentin) comes to his rescue, and they become friends much to his family's objection. Matters complicate when Boy ends up killing somebody in a botched robbery attempt. Lopez brings remarkable ease to the title character, embodying urban poor Philippines with simplicity and struggle. His selfless need/want to care for others is carried by a fragile balance between a naive confidence of who he is and a growing insecurity of where he is (and where he's heading). He dreams in a bubble in the process of bursting, asking his father "Wala na bang ibang paraan itay?" (Is there no other way, dad?)On the surface, he's nothing like his macho, gun-toting father. However, beneath the princess demeanor, he is his father's son, perhaps more so than his brothers. Conditions have forced Paco to consider what is more dignified: starving with a factory job, or getting by as a petty thief. Maxi has inherited his father's most lasting trait: a commitment to keep the family together. Or at least fed, clothed and sheltered, even if it means doing the "wrong" thing. Thus, Maxi's "blossoming" has less to do with dealing with his rejected affections for Victor and more with facing down the reality of his family's livelihood. Restrained by necessity rather than stylistic choice, Solito shows us what could be done with a digital camera, $10,000US and 13 days of shooting. It's a style of film that can never be overdone in the Philippines, where lack of support from the media industry and government and resources forces an organic creativity.Solito's execution is matched by writer Michiko Yamamoto's (Magnifico, 2003) gift for compact, delightful drama/comedy without teetering to far in either direction. Thanks to this collaboration, Ang Pagdadalaga ni Maximo Oliveros is a leap forward from the gay caricatures we've gotten too used to, and yet another piece of a compelling argument that Philippine cinema isn't all cornball and melodrama. Or, that a movie can still have those elements and not be shitty.
roland-104
Absolutely delightful film, its story centering around Maxi (Nathan Lopez), a beguiling 12 year old boy who wants to be a girl, and his various flirtations, including an unlikely one with a rookie cop on the neighborhood beat. Maxi's Dad and two older brothers are criminal lowlifes capable of very bad deeds, including murder, but they are entirely devoted to Maxi, who cooks and keeps house for them (Mom died a few years before). The feeling is mutual: as Maxi says, there may be a lot of crooked people around, but he's only got one Dad.The film is chock full of arresting street scenes in metropolitan Manila, and intriguing tensions among the principals. It is most refreshing to see loving, tender feelings binding a marginal family together, rather than the usual melodramatic dysphoria that infects, but does not inform, many movies about the underclass. (This year's "Quinceañera" is another film that plays up the positive aspects of family life in L.A.'s Echo Park Mexican-American barrio.) An exotic, spellbinding, bounteous bouquet of a film. Won several awards at the Berlin and Cinemalaya Film Festivals, among others, and was nominated for the Grand Jury Award this year at Sundance. (In Filipino, Tagalog & English) My grades: 8.5/10, A- (Seen on 11/21/06)
fjgebaue
I saw this at the San Francisco Film Festival... it is really a beautifully done film that has both good laughs and good drama. It is amazing that this film was produced for about $10,000 US and was shot in 13 days in the director's own hometown neighborhood. This film will surprise you with its frankness and honesty, and I can't recommend it highly enough. I've seen plenty of boring and trite or irrelevant films at film festivals. This film is certainly worthy of your time and may change the way you look at poverty, at gay people, and at the nature of families and the love of parent and child, sibling and sibling. It is also a wonderful "barrio" film in the tradition of "Macho Dancer," but I think it does that film one better. I would definitely see this movie once or twice again. It is easily as good as any Hollywood film.
