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Sarong Banggi
English Title: One Night
Additional Languages: English, Bikol
Year of Release: 2005
Director & Screenwriter: Emmanuel Dela Cruz
Producers: Cinemalaya Foundation, UFO Pictures, Cutting Edge Productions
Cast: Jaclyn Jose, Angelo Ilagan, Greg Rodriguez III, Alchris Galura, Miguel Iñigo Guño, Jam Rodriguez, Miguel V. Fabie III, Tanya Guerrero, Ronald Diama, Ester Reyes, Josephine M. Abelgas, Victor Cusi, Roger Macusi, Cesar P. dela Cruz, Jean dela Cruz, Mica Torre, C.J. dela Cruz, Rose Beltran, Monster Jimenez, Mario Cornejo, Josel Garlitos, Marlon Despues, Jing Villaruel, Ariel Carullo, Lorena Landicho, Lilia Villena
On the eve of his birthday, Nyoy is brought by his friends to the vicinity of Manila’s red-light district. They made an arrangement with Jaclyn so that Nyoy can have his first carnal experience. When they see her from a distance, they’re realize that she’s older than she claims to be so they decide to ignore her and proceed to a bar where they pick up a younger girl to pair with Nyoy. The girl however prefers a more exciting partner, so she allows herself to be picked up by another man in a convenience store. When Nyoy realizes he’s been abandoned by everyone, he returns to the open-air restaurant where Jaclyn sits by herself and invites him to join her.
Essentially a two-hander once Nyoy and (the reflexively named) Jaclyn start their interaction, Sarong Banggi attains a rare look at awkward intimacy that evolves into a harsh, deromanticized glimpse of the inner life of a fallen woman. Key to its achievement is Jaclyn Jose’s ruthless attack, allowing the once-hopeful but now regret-ridden character to take over without any hint of the performer perfecting her craft—which paradoxically makes perfection possible. By underlining some of her lines with contrapuntal behavior, she enables the narrative to reach places without requiring expository explanation. A plot twist that would have defeated lesser artists becomes a marvel of multistratified delivery: does she cry from disappointment, joy, horror, or self-pity? The composure that she forces herself to assume afterward similarly raises questions that she wisely avoids opting to answer. Aware of how exceptional this approach to character is in local cinema, Emmanuel Dela Cruz requires Angelo Ilagan, Jose’s scene partner, to maintain sympathetic naïveté throughout, while packaging the presentation in expressionist flourishes that serve to contrast with the depths of the abyss that Jose fearlessly plunges into.
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