By Nickky Faustine P. de Guzmanrn
$%&@*# you
ONCE DUPED by their recruiters, employers, or, worse, their own family members, few overseas Filipino workers (OFWs) have the backbone to raise their middle fingers and express their anger. Most remain silent and suffering.
IRMA ADLAWAN stars as a wronged OFW in Edna.
With the woes of jailed and nearly executed OFW Mary Jane Veloso in the headlines, the OFW-themed movie Edna lands in movie theaters just in time. Opening nationwide on May 20, Edna is a must-see, most especially for the families left behind by our so-called bagong bayani (modern heroes).
Edna is the story of Mary Jane, of Flor Contemplacion, and many other nameless, unsung heroes. But not really. As much as it highlights the plight of, and pays tribute to, OFWs, Edna focuses on the road less traveled. While most films narrate the misfortunes of the OFWs while working abroad, Edna takes on a more personal tack: What goes on in the mind of an OFW when she/he comes back to the Philippines after the hardships overseas?
Edna tells the tale of a mother who worked abroad for 10 years only to go back to a dysfunctional family that only wants her for her money. Her bunso (youngest) doesn’t know her. Her oldest son didn’t finish school -- all the while Edna thought that he was a doctor. Her daughter has an affair with a married man. Things get frustrating. Edna is almost at the brink of insanity. She hears and sees things. Her paranoia gets the best of her. The audience can barely tell if her stress and fears are real or imagined. But Edna is strong. She knows what battles to choose to fight.
Edna is played by veteran actress Irma Adlawan. The movie also stars Nico Manalo, Sue Prado, Frances Makil, Mara Marasigan, Micko Laurente, and Kiko Matos.
“I have personal experiences [that inspired me to do the film],” the film’s director, actor Ronnie Lazaro, told BusinessWorld. “I was coming home from Europe and I heard one lone voice saying, ‘Kawawa naman ang mga anak ko maawa kayo sa ’kin.’ (My children are unfortunate please have mercy on me).”
“I call this country a badly managed paradise. OFWs go to a strange land leaving behind everything. You cannot realize loneliness until you are abroad. When [OFWs] come home, they crack and something changes. This is just one of the things I want to expound [on],” he said.
Edna is the acting veteran’s first turn behind the camera. His friend, Tonet Gedang -- the producer of the film Ataul for Rent -- produced Edna. Both films were graded A by the Cinema Evaluation Board (CEB).
The director and the producer conceptualized Edna over bottles of beer -- it is based on a hodgepodge of firsthand experiences and hearsay. Mr. Gedang toldBusinessWorld his father was one of the first OFWs in Saudi Arabia, and some of the movie’s scenes were inspired by his childhood experiences, like a makeshift mahjong area where the community gathered and played. He said most of the families of OFWs used their backyard for mahjong, which generated extra income.
“The film allows the visual to plainly tell the story,” notes the CEB in a statement. “The use of the mahjong scenes is a Greek-like chorus that heightens the bathos of the story. When Edna realizes she’s been treated like an ATM, the film gains traction to its resolution.”
The film deliberately changes from color to black and white to signal the turn of events and emotions.
Then there is the rat, which symbolizes, literally, the deterioration of the house and, figuratively, the fall of Edna’s family. “One of the challenges we had was we didn’t use any computer graphics. Good thing the rat could act,” Mr. Lazaro said while laughing.
SWITCHING ROLES
Save for some technical issues, Mr. Lazaro was successful in switching between being the film’s director and one of its actors (he plays Edna’s husband).
How confusing was the transition between the being in front of and behind the camera? He said he did not have the time to think that it was hard. “We only had seven days to shoot. It’s my concept, so I know the ins and outs of how the story will go. I thought to myself that nothing could go wrong. My great cinematographers, actors, and my producer friend surrounded me. We had fun doing it,” he said.
Extensive preparation comes in handy when directing and starring in a film. “One of the lessons I learned was, if ever I should direct again, I should do my homework. I cannot just take on the sequences. I have to plan. It squeezes the creative juices out of you. The requirement, the changes, it’s all draining,” he said.
Award-winning actress Irma Adlawan is no stranger to OFW stories -- she was inTransit, the highly regarded movie about OFWs in Israel. She did her research and interviewed doctors before portraying Edna, saying she wanted to give justice and authenticity to the character and film. “You have to do some research and interviews, especially with some people who are in the know. I did interview doctors and asked them about the manifestations [of an emotionally and mentally stressed OFW],” she said.
Ms. Adlawan said her stint in Transit also helped her in portraying a convincing Edna. “We did Transit in Israel. We were living with OFWs and the people who cannot go home because of their papers. It’s firsthand experience. They were crying with the scenes [as we were filming] because they were affected by what was happening. They would tell you, ‘Ganyan nararamdaman namin’ (That is exactly how we feel). You can see how hard the situation is to be uprooted from where you came from. It’s difficult,” she said.
REAL OFWS SPEAK
Gemma Comiso, Pearl Teves, and Bernadette Monte couldn’t agree with Ms. Adlawan more. They are OFWs who watched a screening of the movie at the Metropolitan Museum on April 28.
“The first few days of going back is like the honeymoon stage. Then, two weeks after, that’s when you begin to see the reality, na anak mo pala ganito, ganyan (that the kid is like this or that). It really happens in real life. It’s not an exaggeration but it could happen,” said Ms. Monte, who has been working in Riyadh for 10 years.
She left her children when they were very young. She didn’t experience Edna’s misfortunes, but she could relate with her. “It’s hard to leave someone who is so precious to you. Inspiration na lang talaga ang mga bata kaya na-overcome angseparation anxiety (The kids are your inspiration to overcome separation anxiety),” she said.
For Ms. Teves, communication is crucial. She’s been working as an assistant teacher in Al Khober, Saudi Arabia for six years now. “Communication is very important. We Skype, chat, and text every day. Communication should not only happen because the kids need something or you’re going to send them something. Dapat hindi ka lang magtetext kung may ipapadala ka, or may kailangan sila (you shouldn’t just text when you are sending something or when they need something).” She goes back to the Philippines every year with her husband who also works as a teacher. Their three sons were big enough to understand why they left. They now have their own families.
Ms. Comiso had to sell a piece of land in Bicol to pay her job broker. She worked in Taiwan as a caregiver for nine years, the maximum tenure of OFWs back then. Now, the maximum working stay is 15 years. But she said she has no plans of going back. “You wouldn’t save anything during the first year working abroad. The earnings would go to paying your recruiters and brokers and supporting your family,” she said. She used to go back home every three years.
“The problem with the people is that they automatically think that an OFW has a lot of money, when it’s not [so]. To save face, some [OFWs] project that image. In the end, they lose everything they worked hard for,” she said.
Ms. Comiso said she knows the value of money and has invested on some properties.
The three women are the administrators of the Pinoy Expats/OFW Blog Awards (PEBA) Facebook page. They started the site for unfortunate OFWs to share their stories and ask for assistance. PEBA is currently present in 56 countries and territories. The women said many Filipinos are suffering abroad, whether physically, emotionally, and financially, or all at the same time.
But while many OFWs could relate with Edna, it is an eye-opener for the families left behind, especially those who take their loved one’s sacrifices for granted.
“I’d like the families left behind to watch the film for them to know the context, of how hard is it to be away from your family,” Ms. Adlawan said.
Mr. Lazaro begs the audience not to watch it -- unless you want reality to punch you hard. “Of course, it’s a reverse psychology!” said Mr. Gedang of Lazaro’s statement, laughing. “Everybody should watch it.”
The movie ends with spunk. “This is how we want you to feel. Parang gusto mong sapakin o murahin yung katabi mo after mo manood (As if you want to punch or curse at your seatmate after watching the movie),” said Mr. Gedang.
Edna is a strong fighter. She knows what battles to choose. Not many overseas Filipino workers have the backbone to stick their middle finger in the air and express their anger, on behalf of OFWs used and abused by their bosses and families, Edna says $%&@*# you!
Edna is the story of Mary Jane, of Flor Contemplacion, and many other nameless, unsung heroes. But not really. As much as it highlights the plight of, and pays tribute to, OFWs, Edna focuses on the road less traveled. While most films narrate the misfortunes of the OFWs while working abroad, Edna takes on a more personal tack: What goes on in the mind of an OFW when she/he comes back to the Philippines after the hardships overseas?
Edna tells the tale of a mother who worked abroad for 10 years only to go back to a dysfunctional family that only wants her for her money. Her bunso (youngest) doesn’t know her. Her oldest son didn’t finish school -- all the while Edna thought that he was a doctor. Her daughter has an affair with a married man. Things get frustrating. Edna is almost at the brink of insanity. She hears and sees things. Her paranoia gets the best of her. The audience can barely tell if her stress and fears are real or imagined. But Edna is strong. She knows what battles to choose to fight.
Edna is played by veteran actress Irma Adlawan. The movie also stars Nico Manalo, Sue Prado, Frances Makil, Mara Marasigan, Micko Laurente, and Kiko Matos.
“I have personal experiences [that inspired me to do the film],” the film’s director, actor Ronnie Lazaro, told BusinessWorld. “I was coming home from Europe and I heard one lone voice saying, ‘Kawawa naman ang mga anak ko maawa kayo sa ’kin.’ (My children are unfortunate please have mercy on me).”
“I call this country a badly managed paradise. OFWs go to a strange land leaving behind everything. You cannot realize loneliness until you are abroad. When [OFWs] come home, they crack and something changes. This is just one of the things I want to expound [on],” he said.
Edna is the acting veteran’s first turn behind the camera. His friend, Tonet Gedang -- the producer of the film Ataul for Rent -- produced Edna. Both films were graded A by the Cinema Evaluation Board (CEB).
The director and the producer conceptualized Edna over bottles of beer -- it is based on a hodgepodge of firsthand experiences and hearsay. Mr. Gedang toldBusinessWorld his father was one of the first OFWs in Saudi Arabia, and some of the movie’s scenes were inspired by his childhood experiences, like a makeshift mahjong area where the community gathered and played. He said most of the families of OFWs used their backyard for mahjong, which generated extra income.
“The film allows the visual to plainly tell the story,” notes the CEB in a statement. “The use of the mahjong scenes is a Greek-like chorus that heightens the bathos of the story. When Edna realizes she’s been treated like an ATM, the film gains traction to its resolution.”
The film deliberately changes from color to black and white to signal the turn of events and emotions.
Then there is the rat, which symbolizes, literally, the deterioration of the house and, figuratively, the fall of Edna’s family. “One of the challenges we had was we didn’t use any computer graphics. Good thing the rat could act,” Mr. Lazaro said while laughing.
SWITCHING ROLES
Save for some technical issues, Mr. Lazaro was successful in switching between being the film’s director and one of its actors (he plays Edna’s husband).
How confusing was the transition between the being in front of and behind the camera? He said he did not have the time to think that it was hard. “We only had seven days to shoot. It’s my concept, so I know the ins and outs of how the story will go. I thought to myself that nothing could go wrong. My great cinematographers, actors, and my producer friend surrounded me. We had fun doing it,” he said.
Extensive preparation comes in handy when directing and starring in a film. “One of the lessons I learned was, if ever I should direct again, I should do my homework. I cannot just take on the sequences. I have to plan. It squeezes the creative juices out of you. The requirement, the changes, it’s all draining,” he said.
Award-winning actress Irma Adlawan is no stranger to OFW stories -- she was inTransit, the highly regarded movie about OFWs in Israel. She did her research and interviewed doctors before portraying Edna, saying she wanted to give justice and authenticity to the character and film. “You have to do some research and interviews, especially with some people who are in the know. I did interview doctors and asked them about the manifestations [of an emotionally and mentally stressed OFW],” she said.
Ms. Adlawan said her stint in Transit also helped her in portraying a convincing Edna. “We did Transit in Israel. We were living with OFWs and the people who cannot go home because of their papers. It’s firsthand experience. They were crying with the scenes [as we were filming] because they were affected by what was happening. They would tell you, ‘Ganyan nararamdaman namin’ (That is exactly how we feel). You can see how hard the situation is to be uprooted from where you came from. It’s difficult,” she said.
REAL OFWS SPEAK
Gemma Comiso, Pearl Teves, and Bernadette Monte couldn’t agree with Ms. Adlawan more. They are OFWs who watched a screening of the movie at the Metropolitan Museum on April 28.
“The first few days of going back is like the honeymoon stage. Then, two weeks after, that’s when you begin to see the reality, na anak mo pala ganito, ganyan (that the kid is like this or that). It really happens in real life. It’s not an exaggeration but it could happen,” said Ms. Monte, who has been working in Riyadh for 10 years.
She left her children when they were very young. She didn’t experience Edna’s misfortunes, but she could relate with her. “It’s hard to leave someone who is so precious to you. Inspiration na lang talaga ang mga bata kaya na-overcome angseparation anxiety (The kids are your inspiration to overcome separation anxiety),” she said.
For Ms. Teves, communication is crucial. She’s been working as an assistant teacher in Al Khober, Saudi Arabia for six years now. “Communication is very important. We Skype, chat, and text every day. Communication should not only happen because the kids need something or you’re going to send them something. Dapat hindi ka lang magtetext kung may ipapadala ka, or may kailangan sila (you shouldn’t just text when you are sending something or when they need something).” She goes back to the Philippines every year with her husband who also works as a teacher. Their three sons were big enough to understand why they left. They now have their own families.
Ms. Comiso had to sell a piece of land in Bicol to pay her job broker. She worked in Taiwan as a caregiver for nine years, the maximum tenure of OFWs back then. Now, the maximum working stay is 15 years. But she said she has no plans of going back. “You wouldn’t save anything during the first year working abroad. The earnings would go to paying your recruiters and brokers and supporting your family,” she said. She used to go back home every three years.
“The problem with the people is that they automatically think that an OFW has a lot of money, when it’s not [so]. To save face, some [OFWs] project that image. In the end, they lose everything they worked hard for,” she said.
Ms. Comiso said she knows the value of money and has invested on some properties.
The three women are the administrators of the Pinoy Expats/OFW Blog Awards (PEBA) Facebook page. They started the site for unfortunate OFWs to share their stories and ask for assistance. PEBA is currently present in 56 countries and territories. The women said many Filipinos are suffering abroad, whether physically, emotionally, and financially, or all at the same time.
But while many OFWs could relate with Edna, it is an eye-opener for the families left behind, especially those who take their loved one’s sacrifices for granted.
“I’d like the families left behind to watch the film for them to know the context, of how hard is it to be away from your family,” Ms. Adlawan said.
Mr. Lazaro begs the audience not to watch it -- unless you want reality to punch you hard. “Of course, it’s a reverse psychology!” said Mr. Gedang of Lazaro’s statement, laughing. “Everybody should watch it.”
The movie ends with spunk. “This is how we want you to feel. Parang gusto mong sapakin o murahin yung katabi mo after mo manood (As if you want to punch or curse at your seatmate after watching the movie),” said Mr. Gedang.
Edna is a strong fighter. She knows what battles to choose. Not many overseas Filipino workers have the backbone to stick their middle finger in the air and express their anger, on behalf of OFWs used and abused by their bosses and families, Edna says $%&@*# you!
No comments:
Post a Comment