Ang Babae sa Septic Tank (2011): The Funny Truth

The Philippine Independent Filmmaking Industry is no stranger for selling poverty in the most authentic way possible. The concept of culture had become a staple in taking account of the human condition with nuance and depth. Similar note on the technical side where authenticity is also applied – “the shakier the shots, the better” is a very common line where an even more realistic mood is achieved.

With all the few good side notes cited above regarding the Philippine Independent Film

making Industry or even more relatable to Mainstream Filipino Film Industry, it is still an Industry where hypocrisy is present – a sewage system is practiced.

Ang Babae sa Septic Tank (The Woman in the Septic Tank) is a brilliant presentation of all the obvious bad things about the industry - starting from pre-production to post-production where such concept is interpreted into a parody yet thought-provoking film where many from the Philippine Film Industry can relate.

Ang Babae sa Septic Tank is about three film-makers who are very eager to win an Oscar winning film piece. The very core of the story of the film is about the character Mila, a miserably struggling mother living in sheer poverty in the downtrodden slums of Metro Manila with her 7 children. Because of insufficiency, she decides to sell her children to a foreigner. In doing so, the producer JM De Guzman, director Kean Cipriano, and production assistant Cai Cortez decides to choose an actress and superstar Eugene Domingo as Mila.

As the story arises, the film-makers are obviously accentuating a what-so-called-indie film which can be described in three things: poverty, less dialogue, shaky camera movement. Also, minimal posters are considered as art like “Walang-wala” literal na walang laman yung poster (the title used by the film makers in the movie) All of these are seen as gold in attempting to be recognized by International Film Festivals. It also shows us the glaring irony when we see how the three film-makers actually live a materialistic, worry-free, urban rich lifestyle. It is clear that the main characters don't care too much about the people stricken with poverty; sad truth is, most people in the Philippine Film Industry are merely interested in becoming film festival superstars.

Ang Babae sa Septic Tank does not only portray the behind the scenes but also the whole film community including those who kept baiting about being recognized by International Film Festivals. It is undeniably true, that there will always be that one person who will shove something they’re proud of in your face as if you even care lol.

With the title comprised therein, my expectation is delayed for I expected that the Septic Tank scene is placed somewhere in the climax part of the story. But I was gratified on how the significance of the title was used in the movie. It was set as the conclusion of what the Philippine Film-making Industry is like: an industry full of sh*t. It parodies not only the indie film scene, but the mainstream film industry as well.

On the technical side, I expected it to be very stylistic in terms of cinematography. The camera shots are quite random because the film also portrayed the different film genres like musical, mainstream etc. I am confused by how the moods are exchanged interchangeably. The moods are all tangled together. I am impressed by the music used in the “musical” part of the movie. It gave me the idea of Filipinos can do musical films too. Also, the lines of the characters are hilarious. It came out not too scripted because of the choice of words. Overall, I find this movie very interesting in a way that reality becomes funny. It is something abrupt that is out of your expectations.

As the film shines light on how some indie filmmakers capitalize on poverty to sell their films, Ang Babae sa Septic Tank also displays the dangers of film realism. Unlike Philippine mainstream cinema where movies are more often manufactured rather than created, Philippine independent filmmaking aims to capture the gritty and harsh reality of Philippine society. But the Walang Wala filmmakers and lead actress seem to forget that reality is alive and active. It cannot be entirely controlled by framing techniques, treatment styles, and diva-like demands of a film star.