Philippines auteur Brillante Mendoza’s film “Pula” has set a world premiere on Netflix.
The narrative unfolds in the devoutly Catholic town of Pula and examines themes of faith, fanaticism, and vigilante justice.
In the film, the tranquil life of Senior Master Sergeant Danilo Faraon (Coco Martin) and his family get upended by a tragic event that shakes the foundations of their close-knit community. A teenage girl’s murder propels Faraon into a vortex of deception, betrayal and guilt, leading him down a path of retribution against those he perceives to have wronged him and the townsfolk of Pula.
The cast also includes Julia Montes, Raymart Santiago, Lotlot De Leon, Alan Paule, Elizabeth Oropesa, Christine Bermas, Ina Alegre and Vince Rillon.
Mendoza, who won best director at Cannes in 2009 for “Kinatay,” is a festival regular and continues to explore societal issues via his films.
“The premiere of ‘Pula’ on Netflix...
The narrative unfolds in the devoutly Catholic town of Pula and examines themes of faith, fanaticism, and vigilante justice.
In the film, the tranquil life of Senior Master Sergeant Danilo Faraon (Coco Martin) and his family get upended by a tragic event that shakes the foundations of their close-knit community. A teenage girl’s murder propels Faraon into a vortex of deception, betrayal and guilt, leading him down a path of retribution against those he perceives to have wronged him and the townsfolk of Pula.
The cast also includes Julia Montes, Raymart Santiago, Lotlot De Leon, Alan Paule, Elizabeth Oropesa, Christine Bermas, Ina Alegre and Vince Rillon.
Mendoza, who won best director at Cannes in 2009 for “Kinatay,” is a festival regular and continues to explore societal issues via his films.
“The premiere of ‘Pula’ on Netflix...
- 5/3/2024
- by Naman Ramachandran and Patrick Frater
- Variety Film + TV
Scrappy filmmaking can sometimes deliver superb storytelling, as is proven by Erik Matti’s initially wobbly but increasingly gripping, increasingly thoughtful, increasingly increasing three-and-a-half-hour “On the Job: The Missing 8,” the prolific Filipino director’s Venice-competing sequel to the 2013 Cannes Directors’ Fortnight title “On the Job.” While the film unfolds more like the TV show it’s about to become, that’s hardly a diss these days. And in its current shape — due largely to screenwriter Michiko Yamamoto’s uncanny ability to keep multiple narrative balls in the air at once — it combines the immersive, occasionally spectacular pleasures of genre cinema with the greedy moreishness of longform TV models. It’s a sprawling, satisfying big-screen binge.
It also plays somewhat like a 209-minute dolly zoom: As the aperture widens on the intensely corrupt landscape of a society under strongman leadership, the focus also narrows onto one man’s painful ethical reawakening.
It also plays somewhat like a 209-minute dolly zoom: As the aperture widens on the intensely corrupt landscape of a society under strongman leadership, the focus also narrows onto one man’s painful ethical reawakening.
- 9/12/2021
- by Jessica Kiang
- Variety Film + TV
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