“Salum,” a Hiligaynon film meaning “delve,” immerses viewers in the life of Kosko, a scallop diver played by the exceptional Allen Dizon, alongside Christine Mary Dimaisip as his daughter. Set against a backdrop of harrowing poverty, the film chronicles Kosko’s sacrifices as he plunges into the ocean’s depths to provide for his only child. When news circulates of a patron’s windfall from a rare pearl found in a scallop, Kosko fixates on finding his own, a pursuit that spirals into dangerous obsession, threatening both his life and his daughter’s well-being.
Visually, “Salum” is a triumph—its sprawling ocean shots and masterful underwater cinematography create a breathtaking spectacle that feels almost tactile. Dizon’s performance is impeccable, layering Kosko with quiet desperation and tender resolve. However, the narrative lacks the tension to match its ambitious premise; the stakes feel static rather than escalating, leaving the story emotionally adrift. While the Hiligaynon dialogue adds authenticity, the film leans too heavily on its stunning visuals and heartfelt acting to compensate for a plot that doesn’t fully grip. “Salum” is a beautiful, if underwhelming, ode to paternal love.
Tigkiliwi
“Tigkiliwi,” another Hiligaynon offering, is a poignant drama tinged with humor and sorrow, centered on orphaned siblings grappling with loss. Gabbi Padilla shines as the older sister, striving to provide for her younger brother, while Ruby Ruiz takes center stage in a narrative that explores life, death, and rebirth.
The film opens with a deceptive horror veneer—ominous apparitions and exaggerated suspenseful music—before settling into a heartfelt drama with lighter moments. This tonal shift aims to depict death as a transformative journey, but the execution stumbles. Padilla’s radiant performance brings warmth and grit, and Ruiz’s gravitas anchors the film’s deeper themes. Yet, “Tigkiliwi” feels incomplete—its pacing lags, and the genre-blending disrupts cohesion, leaving emotional beats underdeveloped. Where it succeeds, it soars: the sibling dynamic is touching, and the Hiligaynon setting lends cultural richness.
However, the film struggles to reconcile its ambitious ideas with a scattered narrative, resulting in a work that’s admirable but flawed. “Tigkiliwi” offers moments of brilliance amid its inconsistencies, making it a compelling, if imperfect, watch for those drawn to stories of resilience and renewal.
Journeyman
“Journeyman” delivers a knockout punch with JC Santos’s riveting portrayal of Angelo, a boxer dubbed a “professional loser.” Sacrificing his dream of boxing glory, Angelo earns a living by intentionally losing matches to support his struggling family.
When a lucrative offer for a legitimate fight arises, he faces a gut-wrenching choice: keep losing for survival or risk it all for his true calling. Santos embodies Angelo’s grime and grit with stunning authenticity, his pain and determination palpable in every scene. Jasmine Curtis-Smith complements him as his equally sacrificial wife, bringing depth to their shared struggle with her compelling portrayal of practicality and quiet strength. The film’s power lies in its raw depiction of human spirit—gritty, unglamorous, and profoundly relatable.
The boxing sequences pulse with intensity, mirroring Angelo’s inner conflict, while the narrative balances heartbreak and hope with precision. Though some supporting elements feel familiar, the central performances and tight storytelling elevate “Journeyman” into a triumph. It’s a visceral exploration of duty versus ambition, leaving a lasting impact. For its emotional heft and stellar acting, this film stands tall among the festival’s entries.
Co-Love
“Co-Love” dazzles with its vivid take on influencer culture, pitting rival couples—Alexa Ilacad and KD Estrada versus Kira Balinger and Jameson Blake—in a race to master content creation trends. Tailored for a youthful audience, the film thrives on its relatable premise and the electric chemistry between its leads. Ilacad and Balinger bring spirited charm, while Estrada and Blake shine with magnetic appeal—Blake’s close-ups, in particular, are captivating. An unexpected dynamic between Estrada and Blake adds intrigue, though the plot’s queer baiting feels forced and overstretched.
Visually, “Co-Love” is a feast—its colorful direction mirrors the fast-paced, trend-driven world it depicts. However, the film falters with pacing; too many prolonged scenes dilute its energy, prioritizing flair over focus. The narrative’s vibrancy compensates for these lulls, delivering a playful, modern romance that resonates with its target demographic. While it doesn’t fully refine its ambitious scope, “Co-Love” succeeds as a charming, if uneven, crowd-pleaser. It’s a snapshot of digital-age rivalry and love, bolstered by strong performances and a fresh aesthetic, even if it occasionally overstays its welcome.
Entries to Puregold CinePanalo 2025 Film Festival are screened at Gateway Cinemas in Quezon City from 14-25 March, 2025.
