Purgatoryo

Purgatoryo from 2016 is a chilling Filipino independent feature film that masterfully weaves together an expansive tapestry of somber drama and social critique. It is delivered through a unique and dynamic plot structure, accompanied by authentic performances. Directed by veteran independent filmmaker Roderick Cabrido, the film stars Jess Mendoza, Kristoffer King, and Bernardo Bernardo.

Purgatoryo delves into the dark and unnerving aspects of a society functioning on the fringe. At its core, it provides a critical reflection of observed social, economic, and political circumstances, using its plot as a metaphorical mirror held up against moral ambiguity. The film's title, which refers to purgatory in Catholic theology, is a state of cleansing, purification, and temporary punishment that befall souls not yet ready to enter heaven. This suggestive title sets a tone for the film's theme of wavering morality, taking the audience on a profound exploration of purgatory, but not necessarily in the realm of the afterlife.

The film centers around the life and exploits of Ilyong, brilliantly portrayed by Jess Mendoza, a recently deceased man. After a life lived in controversy and conflict, his death doesn't offer him much respite. Instead, it ignites a series of events that manifest gruesome realities of the world he leaves behind. Circumstances beyond death in Ilyong's life shape the narrative of this gripping film.

Backing Mendoza, Kristoffer King delivers an impactful performance as an opportunistic gambler, Lando, operating at the crossroads of immorality and survival instinct. His role adds a sinister edge to the narrative, expounding upon the unsettling themes of the film. Veteran actor Bernardo Bernardo plays Dado, a corrupt police officer, highlighting the deep-set corruption and immoral conduct within societal structures, providing an angle of critique on the institution of authority.

The film mainly unravels in a morgue run by a man ironically named Bangkay, played by Arnold Reyes. The morgue, another metaphorical representation of purgatory, serves as a purgation point for various characters and their respective moral quandaries. The deceased, instead of finding their peace, become commodities in a variety of illicit operations, further underpinning the socio-political commentary.

Purgatoryo is presented with comprehensive and realistic character development. Cabrido takes a systemic approach to showcase each character's complexities, including their motivations, fears, and desires. Moreover, the film deeply resonates with real-life societal issues, contributing to the perceived authenticity of the narrative line, and further shedding light on subjects usually swept under the carpet. Cabrido's powerful storytelling and acute directorial vision are impressively avant-garde, transcending the stereotypes typically associated with this genre.

The film’s cinematography by Myko David deserves a special mention. Breathtaking shots, combined with an intricate use of space, light, and shadow, add an additional layer of depth and suspense to the overall storytelling. His work adds a unique aesthetic to the film, amplifying its realism and visual appeal.

The success of Purgatoryo lies not only in its captivating plot and impactful acting but also in its compelling narrative structure and its profound socio-political commentary. Through displaying the lack of respect for the sanctity of death and the deceased, the film manages to lay bare the hardships, ruthlessness, and immoral acts associated with a life lived on the borders of acceptable society.

Despite its grim theme, Purgatoryo manages to keep the audience hooked with its unforgiving, bold storytelling and thought-provoking messages. By catering to a niche audience that appreciates the critical combination of drama, social critique, and raw authenticity, Purgatoryo stands as a landmark film in the independent Filipino cinema.