If tropes about Filipina transwomen gathered in a rendezvous point and had an orgy, this would be the result.
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| "Die Beautiful" Paolo Ballesteros awarded at the 29th Tokyo International Film Festival (photo taken from trailer) |
"Die Beautiful" is an independent film starring Paolo Ballesteros and was directed by Palanca awardee Jun Robles Lana.
Ballesteros portrays the fictional character of Trisha Echevarria, a Filipina transwoman whose story from childhood to death is a life fondly shared by others from the LGBT community.
The film had unpredictable leaps into snippets of Trisha's life. Reading the transitions won't be easy from one scene to another, but there's enough time to absorb what was happening. It jumped through timelines and laid out the salient fragments in her life. A breathing hole is provided as each scene started, which made the narration coherent.
What was so breathtaking about the film was its ability to tell the story of a young queer who was at conflict with his sexuality—or rather, the adrenaline associated with adolescence. In a society where male rape is not definitive in the interpretation of religion nor the law, Trisha (named Patrick, before she left her family) is confused if what happened was mere indulgence or sexual violence.
The character that stood out the most was Barbs, portrayed by Christian Bables (who turns out to be hetero in real life), where beyond all the puns and gay humor was able to seamlessly act out a real and not stereotypical gay bestfriend. Perhaps it was the script, but his observance of their habits and way of talking and how they would move on different situations convinced the audience that he is gay even though he isn't. And that is not an easy task to do.
It's also worth noting in the script how Trisha's relationship with her family regressed. While his connection with his sister Beth, portrayed by Gladys Reyes, was intact as they bumped into each other on several occasions, Trisha remains firm on her stand. The character's resolve of leaving her family resonates with the life of other transwomen in reality, who in turn, develop familial relations with their friends.
On the fourth quarter of the film however, everything seemed to fall out of place.
Trisha struts into a bar as the plot gives way to its falling action; the final drama of her life. She meets Jesse, portrayed by Luis Alandy, as the latter takes time to compliment her and indicate his attraction towards her. Later on it is revealed that Trisha agreed to have an extramarital affair with him.
The character that stood out the most was Barbs, portrayed by Christian Bables (who turns out to be hetero in real life), where beyond all the puns and gay humor was able to seamlessly act out a real and not stereotypical gay bestfriend. Perhaps it was the script, but his observance of their habits and way of talking and how they would move on different situations convinced the audience that he is gay even though he isn't. And that is not an easy task to do.
It's also worth noting in the script how Trisha's relationship with her family regressed. While his connection with his sister Beth, portrayed by Gladys Reyes, was intact as they bumped into each other on several occasions, Trisha remains firm on her stand. The character's resolve of leaving her family resonates with the life of other transwomen in reality, who in turn, develop familial relations with their friends.
On the fourth quarter of the film however, everything seemed to fall out of place.
Trisha struts into a bar as the plot gives way to its falling action; the final drama of her life. She meets Jesse, portrayed by Luis Alandy, as the latter takes time to compliment her and indicate his attraction towards her. Later on it is revealed that Trisha agreed to have an extramarital affair with him.
Jesse was constructed as the ideal guy in gay romance novels who shows his love and support without restraint. He becomes the father figure to the adopted child of Trisha, yet both struggle for the attention of Jesse with his conjugal family.
It is therefore disappointing that the writer succumbed to cliches near the end. Despite the interesting turn of events in the story, the writer concludes this subplot with unjustified behaviors though can arguably be defended.
Jesse's wife Diana visits Trisha and answers why her husband went missing on Trisha's radar for a month. He laid on a hospital bed with leukemia; a cliche that's cringe-worthy enough if not thoroughly justified. And it wasn't. It was all written for the sake of it.
Diana says that her husband wants to speak with Trisha. Arguably, her kindness and the current state of her husband can justify why she has no rage left for the mistress and instead accomplishes the wish of her husband. But this still cannot save the subplot in general.
It becomes an extension of the conflict back when Trisha was raped, and was perhaps written to conclude whatever sadness was brought to her by that traumatic incident. Jesse tells her that he thought he was already cured of the disease, but his sins have come for his retribution.
Now I don't want to spoil everything, but questions arise from the revelation like whether or not he developed love for Trisha and how. It was all words and the tip of a thin iceberg.
Overall, every detail and every trope written wraps up the story with justice as they count the days of Trisha's burial. Elegant and tearful conclusion.
©The Pink Merman
Pacific-Atlantis Mermen Journal
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