The previous entries of the Metro Manila Film Festival (MMFF) were either a gem or a dreg, a masterpiece, or a waste. Some franchises maintained the hype, while some resulted to the total pull-out from the yearly entries. Other movie submissions, I must say frankly, were repetitive and almost did not deliver a noteworthy diegesis. But not all MMFF films were like this. In fact, few outstandingly convey and portrayed significant and somehow sensitive social issues that made Filipino cinema worthy to be recognized overseas.
Fangirling has massively erupted in the mainstream of the 21st century, leaving room for the overplayed and occasionally obsessed gals. As a matter of fact, Antoinette Jadaone’s “Fan Girl”, which was her official contribution to the Metro Manila Film Festival 2020, left a grappling impact and relevant message to most viewers, such as myself. It was also recognized at the Tokyo International Film Festival which was bowed by critics and garnered positive reviews. The main concept of the movie is about the tale of a 16-year-old high schooler, played by the fast-rising star Charlie Dizon, who like any other pop culture fanatic, is in deep hopes to have a within reach interaction with her idol. Casted also was Paulo Avelino who was hailed as the most diverse Filipino actor and gave an appalling performance through his misogynistic and abusive take on his role. The film’s trailer only provided snippets of where obsession will take one person. It may seem cute and somehow conveyed “romantic comedy vibes” but in actuality, the film tackled the haunted truth of reality that was intensified by some adult graphics and explicitly cursed dialogues. If you will analyze the previous works of Jadaone, this was totally out of her usual scope. Nevertheless, Fan Girl was by far the most authentic and raw film she ever released.
The story was about a seemingly idyllic heartthrob who had turned the sweet daydreaming fantasy of a young woman into a harsh shocking nightmare and showcased the truths of her innocent status. As Dizon dived in hundreds of fans to watch and admire her idol, she somehow believed that his personality on screen equates to his private character. Fan Girl was also believed to be political since it targets the disgusting notion of chauvinism, particularly the power over and outlook towards women of the previous administration. Fan Girl felt like a true-life story from someone who experienced these prejudices first-hand. The cunning yet humane final minutes of the film was filled with many loud symbols, genuine emotions, and heartbreaking frustrations.
The beginning of Fan Girl had bright visuals and fleeting comedic scenes, paving way for an assumption that this will be a feel-good film. But for most parts, specifically during Avelino and Dizon’s alone time, the cinematography had a darkly yellowish tone which gave an almost eerie aura. The obvious analysis of this was that Dizon had involved herself into something sinister that she did not see was possible, making the entire concept of the film perfectly crafted by its added filters.
The wardrobes were simple, unpretentious, and very fitting to Dizon and Avelino’s characters. Dizon only wore her school uniform throughout the film, implying that she is still unaware of society's flaws and that she should be at school studying these rather than wandering around mindlessly. As for Avelino, he dressed the way an actor should appear – charismatic, edgy, and appealing – but only in the first few minutes of the film. He later looked like someone who lived in a marginalized area – untidy, sloppy, and arrogant. Since the spotlight was gone and the curtains had closed, there was no reason for Avelino to conceal what he is as an individual – a supremacist, egocentric maniac.
Fan Girl also composed of a few characters but did not feel like the movie was lacking in this aspect. Dizon was new to the industry during the making of Fan Girl but her performance was profoundly a wonder. Avelino, who also plays himself and puts his name and body on the line, had also lent his talent and successfully transformed to what Jadaone demands from him – a struggling victim of life who became an indistinguishable toxic man and is seeking validation through his cruel actions and immoral behavior.
If one looks closely at the film, it can discern its controversial elements. Jadaone had perfectly utilized her platform to showcase the visible authority of patriarchy over naïve women, and how one is lost to glorify men, even if her dignity and life is at stake. Though the movie was pure imagination, sadly, the abundance of these happenings encompasses a larger audience than what is actually seen. Fangirling has evolvingly problematic since perceptions towards young female fans, since their fanatical and hysterical behavior have separated from norm set by the society to the point of being destructive, embarrassing, and thus requiring discipline and supervision.
Though controversial and targets one of the rampant bigotries of men, Fan Girl is an honest, mature, and relevant work worthy to be celebrated and treated condescendingly. In contrast to movies revolving around the cliché idea of “loveteams” and “happily ever after”, this cinematic gem has left a grappling hold of me and made me examine the identities of those prominent names I adore. It fearlessly portrayed the roots and consequences of false idols, as well as how one openly embraces their unfavorable destiny and becomes enslaved to the awry superiority set by the society. Jadaone has made a significant contribution to Filipino cinema, especially in this day and age when the rampant growth of dubious idols generates excessively inflated fandoms that may ultimately result in worshiping them as deities.
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