Film Review: Dinig Sana Kita

A hearing-impaired young man who loves to dance. A rocker chick with parental issues. One is searching for a parent, the other just wants to be left alone. Kiko and Niña are two people who belong to entirely different worlds. Never in their wildest dreams did they think their paths would cross, then one day, it happens. The succeeding events in their lives make up the narrative in Dinig Sana Kita, one of the ten full-length feature films in competition at this year’s Cinemalaya Film Festival at the Cultural Center of the Philippines. Written, produced, and directed by Mike Sandejas, the film takes on themes of teen love, family, and longing. At the same time, it also tackles some of the issues that plague the hearing-impaired community and sheds some light on society’s misconceptions about them. These issues, however, are woven into the plot so the movie doesn’t appear preachy about the subject matter. The lead male character in the movie is Kiko, played by Rome Mallari. The actor’s internalization of Kiko feels real because he seems to have a good grasp and understanding of his character’s internal motivation. Because of this, his portrayal comes across as credible and he turns in a convincing performance. Perhaps, what helped him for the role is that he himself is an accomplished hearing-impaired student. He is also a stage actor with a background in dance, which he showcases in a memorable scene. The female lead, Niña, always finds herself in trouble in school, in her gigs, and of course, at home. She is played by Zoe Sandejas, real-life daughter of the movie’s director. Ms. Sandejas portrays Niña with a good combination of both rage and vulnerability. Her portrayal doesn’t come across as annoying; instead she makes the audience believe that her character longs not just for attention but also understanding. The movie triumphs because of the vision of Mike Sandejas. His handling of the hearing-impaired characters is noteworthy. He treats them with respect and dignity, and he gives his audience an opportunity to get to know them as they function in their own community. I’m glad that he took on this challenge; in the hands of other directors, it probably wouldn’t be handled as successfully as he did. Commendable also, is how Mr. Sandejas handles dramatic scenes with careful restraint. He does not allow a tender dramatic moment to linger more than it should. In Philippine cinema, it is an act of bravery to defy the seemingly irresistible road to melodrama. Mr. Sandejas’ refusal to give in to that norm, which afflicts most Filipino directors, has allowed him to mount an ending in this movie: two pivotal moments of acceptance and forgiveness, where his audience is left with no choice but to let their emotions go, to happily break a little. With music that is used sparingly and strategically, one’s experience of the movie is enhanced. How can one not be touched by the classic Sa Ugoy ng Duyan and the catchy theme song of the movie, Sana Ako’y Marinig? The latter’s beautiful lyrics embody the heart of the movie’s message: to be heard, to be loved. In a film festival where most of the entries seem to be obsessed with themes of sex and violence, Dinig Sana Kita is a gem of a film that delights and inspires. After watching the movie, you’ll leave the cinema with eyes a little misty, but there will be a smile on your face. - GMANews.TV