Asog

Since its inception, filmmaking has given artists an outlet to explore and amplify identity. Whether it’s cultural, religious, or something more profound and oftentimes less investigated – like sexuality and gender – film has opened the door for people around the world to share who they are. Through a mix of documentary and narrative film, filmmaker Sean Devlin’s Asog puts an important spotlight on the Philippines’s queer community as well as the forgotten people of the country’s rural areas.

Set in the aftermath of a destructive typhoon, Asog simultaneously tells the story of Jaya (Rey Aclao), a non-binary teacher, and the residents of the devastated island of Sicogon. As Jaya travels to a drag pageant with one of their students in tow, they cross paths with the people of Sicogon as they struggle with the destruction of their home, and the outside forces of development that seek to change the island forever.

From the get-go, Asog is interesting in its stylistic choices: mainly in blending narrative and documentary type filmmaking. This kind of approach is certainly nothing new, but it does feel like a rarity in today’s IP and nostalgia-centric world of cinema. That mix of fact and fiction often happens through psychedelic realism – simultaneously putting the audience into the emotional vortex of the characters. The choice works as Devlin’s film keeps reminding the audience that a part of this story really did happen and the people are still dealing with the consequences.

The heart of the film belongs to Jaya’s relationship with their student, Arnel (Arnel Pablo). The chemistry and connection between the two is raw and honest – mirroring the film’s overall form. This is all the more impressive given that both are non-traditional actors – with Arnel actually playing himself in the film. The rest of the cast is made of these kinds of actors too, with results not nearly as satisfying. There’s a clunkiness to the other performances that’s distracting and hobbles the film’s overall effectiveness.

The other half of the film – the part focusing on the people of Sicogon Island, isn’t nearly as cohesive or well executed as Jaya’s story. Devlin’s intent is there – cultural identity being virtually wiped away by encroaching greedy outsiders, but it feels too siloed when put together with the sometimes very comedic and intimately personal nature of Jaya’s journey.

Even if the more telegraphed “message” portion of the film doesn’t completely come together, the story of Jaya and Arnel whacks enough of an emotional wallop that most audiences won’t notice Asog’s low points.