“A daring, singular debut.”

David Lynch once famously quipped, “I discovered that if one looks a little closer at this beautiful world, there are always red ants underneath”, which has often been used to refer to any instance where seemingly tranquil, harmless centres of culture reveal themselves to have seedier and more insidious origins. This principle can be applied to Filipiñana, the directorial debut of Rafael Manuel (expanding his 2020 short film of the same title), which is set almost entirely within a country club somewhere in the Philippines. The film follows Isabel, who has recently started working at the club as a tee girl, spending long hours labouring away on the sun-baked golf courses. What she initially expects to be a pleasant but unremarkable way to earn some money before moving on to her next chapter turns out to be far more complex, especially when she becomes fixated on the enigmatic owner of the club, who she begins to believe represents the many dark secrets lingering beneath the surface of these pristine lawns and crystal-clear swimming pools frequented by the elites of the community, all of whom have their own closely-guarded secrets. A peculiar but fascinating work that contributes to an ongoing renaissance of contemporary Filipino cinema, Filipiñana is a tremendously intriguing film defined by a unique visual language and an ambitious approach. It offers a captivating critique of identity, class and the lingering spectre of colonialism, which creates a daring and provocative work that is both narratively rich and stylistically bold, an unforgettable achievement. 

Filipiñana is not a film necessarily defined by its narrative, so it takes some time for us to fully understand the message that is being communicated. The easiest entry point is to start by focusing on the concept of appearance vs. reality, a classic literary device that proves useful in seeing some of this film’s subtler cues. The entire story takes place in the various areas of a country club, a luxurious destination tucked away from the outside world, and where those who can afford membership (or are at least well-connected enough to engineer their presence) can retreat from reality for a few hours. A polished façade that seems pristine on the outside, but is built on years of manipulation, control and even a hint of violence, which becomes increasingly clear as the young and inquisitive protagonist begins to peer behind the curtain, getting glimpses of the sinister history on which this establishment was constructed. From this, we can begin to notice that Filipiñana is a film about observation – while the elite come here to escape, the staff remain attentive and aware, knowing that they don’t have the benefit of such a blissful distraction. Manuel uses this premise to craft an intriguing upstairs-downstairs drama, showing how the staff and patrons engage in an elaborate performance of sorts, a carefully choreographed dance built from an enormous power imbalance, and reflecting an obsession with some intangible desires. The director interrogates class disparities and even touches on postcolonial discourse, using the perspective of the innocent and curious protagonist as a vessel through which he can explore these complex themes.

While the story being explored is intriguing, this is not a film entirely driven by the plot, with most of what makes Filipiñana so captivating coming in the form of the execution. First and foremost, we have to highlight the visual mastery that drives this film – each scene is a meticulously composed tableau, self-contained vignettes that evoke the likes of Peter Greenaway and Sergei Parajanov (especially in the seamless blending of landscapes, people and objects). This may seem like an intimidating comparison until we notice the extent to which Manuel and director of photography Xenia Patricia go to capture each vivid detail, framing every shot with a precision that reminds us of the importance of visual language in communicating ideas that dialogue could never effectively deliver. Each shot is carefully framed, with specific attention to saturated colours that feel both natural and uncanny, and where the slightly off-kilter lighting contributes to the vaguely offbeat tone. This visual approach is enhanced by the pace, which is deliberately slow, not only allowing the audience to linger on every gorgeous shot, noting the striking symmetry, bold colours and small details, but also adding to the tensions simmering beneath the surface. We are voyeurs, peering into the daily activities of this country club, where the fickle boundary between routine and ritual is razor-thin and defined by an intentional ambiguity. This opacity adds a fascinating layer to the film, since the aesthetic richness complements the limited narrative clarity, providing a very distinct emotional resonance that draws the audience in and accumulates into an immersive but deeply unsettling drama in which atmosphere intermingles with striking visuals and the offbeat plot.  

Despite this being his debut feature, Manuel already feels like he is on track to become an accomplished voice in contemporary Filipino cinema, since he clearly possesses an unflinching vision for the craft and has the rambunctious quality required to execute these bold ideas without any hesitation. Filipiñana is a hypnotic, intoxicating work that prioritises mood and draws on deeper symbolism to create a truly sensory experience, rather than being overly fixated on the plot, which is merely used to move from one scene to another, not always an effective filmmaking strategy but one that works exceptionally well in this case. The themes that do break through the surface are fascinating – this is a film about the intermingling of power and identity, as seen through the perspective of a young woman who is only starting to know the reality of the world that surrounds her, with subtle hints of political commentary conveyed quietly through imagery, gestures and tonal cues. Every viewer is going to have a very different experience with this film – some will be entirely mesmerised, others deeply unsettled, or a combination of a few different reactions that all become part of the experience of being drawn into this enigmatic world, leaving us eager to unpack the layers of meaning that encompass the film. Filipiñana is a daring, singular debut that demands both patience and attention, being intentionally opaque in many ways, but rewarding those who are willing to enter into this meticulously constructed and deeply compelling world.