It
is sort of a cross between the existential Japanese Sun Tribe films and the
American Independent beach party movies, but it couldn’t exist without the apex
of Hollywood 1970s auteurism. According to legend, after finishing the famous
surfing sequence, the crew of Apocalypse
Now left behind a few surfboards, inadvertently seeding a local surfing
scene in Baler. According to family legend, Francis Ford Coppola did something
similar with Ford’s mother. The moody surf instructor does not like to talk
about it, but the rumors still dog him in Mario Cornejo’s Apocalypse Child (trailer here), which screens during the 2016 New York Asian Film Festival.
Ford
has been getting pretty serious with Fiona, a formerly troubled runaway, as
even his free-spirited, permissive mother Chona notices. Unfortunately, just when
things start to get real, his well-heeled childhood friend Rich makes his
triumphant homecoming as Baler’s young new Congressman, with Selena, a
beautiful fiancée in tow. Ford has plenty of reasons to resent Rich and perhaps
vice versa, but the incredibly attractive foursome starts partying together, to
keep up appearances. Periodically, they become a quintet whenever Chona brings
over weed. However, all the time Ford and Selena are spending together for her surfing
lessons is bound to lead to jealousy and temptation. There is actually some
surfing too.
Regardless
of its cinematic merits, Apocalypse
certainly makes Baler look like a veritable paradise on earth. Apparently, you
can surf and sun all day and then eat roast pig in the evening. It sounds
great, even if there is a district mandate requiring neurotic co-dependent
relationships.
Essentially,
Apocalypse is part angsty indie drama
and part sun-drenched guilty pleasure. Most of us probably prefer the latter
(its summertime, after all), even though the five principles are all pretty
good. In fact, Annicka Dolonius (also quite impressive in What Isn’t There) plays the more-vulnerable-than-she-wants-to-let-on
Fiona with exquisite subtlety. Sid Lucero can definitely surf and brood, so he
has Ford buttoned-down well enough. Gwen Zamora is a luminous presence as
Selena, but it is hard to believe an up-and-coming politician would get
involved with someone with her back story. Frankly, RK Bagatsing’s Rich is
problematically whiny, while Ana Abad-Santos probably wins cheap audience
points with her Susan Sarandonish portrayal of Chona.
