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Nuuk
Additional Language: Greenlandic
Year of Release: 2019
Director: Veronica Velasco [as Veronica B. Velasco]
Screenwriters: Aileen Alcampado, Veronica Velasco, Jinky Laurel
From a story by Erwin Blanco & Aileen Alcampado
Producers: Viva Films, OctoArts Films, Mavx Productions
Cast: Aga Muhlach, Alice Dixson, Ujarneq Fleischer, Elaine Yu, Amisuna Berthelsen, Ane Marie Ottosen, Cherisa Chy Dupitas, Maja Thomsen, Giard Paul Dupitas, Kim Kimsen, Jennifer Baquit, Ann Cortez, Stephen Bonotan, Jemina Sørensen, Mikkel R. Sørensen, Geraldine Lontac Lastein, Kevin Dalugdug, Tom Lynge, Ike Giroy, Bertha Lynge, Tuperna Kristiansen, Silvia Olsen, Angel Calmiag Teran, Junie Ducay, Jovanie Ducay, Harold Ducay, Marlouis Ducay, Hugh Ducay, Henrik de Leon, Jason Jensen, Mario Castillo, Irwin Lee Dupitas, Jesper Øraker, Nukakkuluk Kreutzmann
Elaisa Svendsen, a recently widowed overseas Filipina, needs Prozac for her insomnia, but the pharmacist refuses her request unless she can get a renewed prescription from her still-vacationing doctor. Mark Alvarez, a fellow Filipino whom she doesn’t know, overhears her predicament and offers her some of the tablets he just purchased. He asks for her number in case he might get into trouble for violating the law. When she gets home, she takes too many pills and dials her phone for help. She wakes up next morning to find Mark attending to her, saying she dialed his number and he had to break her window to be able to get to her. She tells him about her situation, including her problem with her rebellious son Karl: she identified his girlfriend using a rival girl’s name and the depressive woman, consumed with jealousy, wrangled with Karl and killed herself. Karl arrives during Mark’s later visit but runs away that night after quarreling with Elaisa, just as Mark’s driving away and almost hits him. The two of them have a conversation about their difficulty coping with Greenland culture and Karl admits that he prefers to stay in the Philippines, which he’d visited once with his parents. Mark tells him and, later, Elaisa that he thinks it’s a great idea, since she plans to set up a business in the home country. Right before boarding the plane for their trip, Karl discovers that he forgot his passport and has to retrieve it at home. Elaisa tells him to take a later flight but he tells her a blizzard began and flights have been canceled. Elaisa though encounters a few more surprises when she arrives in Pinas.
Greenland has assumed increasing significance since the relase of Nuuk, titled after the country’s capital city. Under the second presidency of Donald Trump, it has become an object of colonial contention between the continentally co-located US and European leaders responding in support of Denmark, its postcolonial administrator in a still-evolving conflicted relationship. More relevant to the Philippine condition are two matters: first, overseas Filipino workers constitute the biggest number of foreign residents in Greenland, poetically apposite for a population with a history of both European and American occupations; and second, another local film, also woman-directed and set in the margins of Western Europe, came out the same year by the same producer. Sigrid Andrea Bernardo’s UnTrue, set in the Republic of Georgia, would stand tall on its own terms and would therefore be an unfair basis for comparison. Nevertheless, certain similarities between it and Nuuk, as well as with other celebrated works from 2022 where the OFW presence looms later in the narratives, Ruben Östlund’s Triangle of Sadness and Lorcan Finnegan’s Nocebo, raise cautionary issues recognizable to any outsider who ventures to reside in cold countries: any excitement or romanticism will eventually be subsumed under issues of sustenance, if not survival. As in UnTrue, these get formulated in terms of heterosexual gender conflicts, linked to incidents in the home country. Nuuk distinguishes itself by turning on the tragedy of a pursuit of retribution that overrides any possibility of remorse on the part of the wrongdoer, although the more unexplored aspect of the narrative lies in the cause of conflict between the protagonists—their offsprings’ thorough immersion in a culture (signified by their fluency in the local language) that their parents are too alienated from handling, and therefore understandably helpless in intermediating. Nuuk justifies the treatment it presents in order to provide a handle for the audience in figuring out, along with the parents, what their children are undergoing. A forthcoming wave in the OFW saga would be works where second-generation Filipinos in foreign places narrate their own stories, on their own terms, already evident in a limited number of hyphenated works (mostly Fil-Am) but insufficiently global enough to acknowledge the presence of fellow nationals in every part of the world.
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