Mikhael Red’s ‘Birdshot’ review: bullseye

The August 21, 2017 version of this review is posted on Facebook.

“Kapag hindi na sayo, kapag wala na sa kamay mo, huwag mo nang ipuwersa.” - Birdshot

Bullseye. The long walk going home was a short-lived existential crisis - naturally came out of nowhere after seeing 'Birdshot.' A powerhouse production, it proves deserving of the high-rated reviews it received from publications.

The film’s allegory synchronized with reality. Or even, did reality synchronize with the film? A lot of local movies employed such element but Mikhael Red got really close. I had seen this film in a small theatre so you could really feel people hold their breaths until you get free.

By the movie's sequences, an audience could see that whoever the storyteller was, he had full control of everything: commentary, plot, color, and most especially the right emotion. He had you at the full swing of your seat then he'd just break free in an impact.

It tried to expound on some narrative about our identity as Filipinos but this work raised more questions than answers. Whatever those questions are, it depends on whoever sees it and how they spot the other underlying elements of the film.

In an attempt not to spoil for those who haven’t seen it, there’s a whole lot more to say about 'Birdshot.'

The film reminds me of 'Oro Pro Nobis,' the 1989 Brocka film that Cory Aquino banned due to its subversive tone.