PHILIPPINE HORROR films have continuously evolved.
From the numerous iterations of Shake, Rattle, and Roll to classics like Feng Shui and all the way to modern times, various film directors have tried changing the meta. There's no denying that the quality of films has markedly improved.
And among those who have modernized Filipino horror is Mikhail Red, who has produced some of the best Filipino films like Deleter, Eerie, and recently Lilim.
But behind his success is his brother Nikolas Red, who has now decided to flip the script, making his directorial debut with his film, Posthouse. With him at the helm, it's now time for Mikhail Red to take a backseat as the film’s writer.
Together, they produced a film that reflects on Philippine horror, as the film draws inspiration from a lost 1927 Filipino silent horror film about a mythical creature known as the manananggal.
Paying homage to silent horror films
Horror films from the early 20th century may not have had the computer-generated special effects we see today, but they perfectly captured the essence of fear through other means.
Sound is one element that early horror films emphasized, and this remains relevant today, as most jump scares and plot twists rely heavily on sound to build tension.
However, the very nature of the original horror classics already had an unsettling feeling. The limited colors combined with stop-motion effects and the vintage camera visuals were enough to create an eerie atmosphere that could send chills down our spines.
All of these elements were heavily seen in Posthouse. Nikolas Red’s film creates a haunting atmosphere, which was evident during the sequences involving the silent film. The background music managed to send shivers down my spine, plus there was a sense of dread whenever the camera zoomed in on the silent film.
Everyone knows that the manananggal in the silent film is just a person wearing a rubberized costume, yet despite that familiarity, Posthouse captures the essence of fear from the silent horror films of the past.
And because of this approach, Red manages to pay homage to the ancestors of horror films.
A lot of mystery surrounding the plot
While Posthouse is a film centered on the silent horror trope, it still manages to incorporate some modern horror elements. Over the years, storytelling in Filipino horror films has also improved, with some tackling themes centered on generational trauma, like the recent post-apocalyptic zombie film, Outside, which also stars Sid Lucero.
Posthouse also explores this narrative as it centers on a family of filmmakers, where Cyril (portrayed by Sid Lucero) tries to restore his father’s manananggal film. With the help of his daughter Rea (Bea Binene), Cyril slowly uncovers the secrets surrounding his father’s unfinished film.
Looking back at the film’s plot, Posthouse does a great job in terms of storytelling. The build-up towards the signature Red-style plot twist was brilliantly done, and the character development was also wonderfully crafted.
Cyril’s descent into madness and Rea’s resolution were properly executed and well-paced, as viewers get a chance to slowly dig deep and learn more about the two main characters and their relationship. This ultimately blends well with the film’s take on generational trauma.
And this was further heightened by Sid Lucero’s acting. Similar to his role in the film Outside, Lucero portrays the scarred and flawed human being haunted by the ghosts of his past.
While Lucero was indeed the star of the show, Binene, on the other hand, still needs to further hone her craft. Her acting wasn’t bad, as she delivered a solid performance throughout the film, and it wasn’t an easy task for her to match the level that Lucero delivered. Overall, she did well, but she could further elevate her skill.
Attention to detail at its finest
When looking at the other aspects of the film, such as its attention to detail, Posthouse truly excels. In typical Red fashion, the cinematography manages to catch the attention of viewers, which was further heightened during the chase sequence where the camera was directed straight at Sid Lucero’s face while he was running to the studio.
This was, in my opinion, my favorite part of the film, as the shaky camera combined with Lucero’s facial expressions truly made this feel unsettling and chaotic, perfectly mirroring the character's internal struggle.
But it wasn’t just the cinematography where the film shines. The inspiration and research behind the film also drew my attention. The idea of manananggals and the concept of ‘Holy Week’ was brought up, which definitely rings a bell regarding spiritual traditions.
For those of you wondering, there is a belief that manananggals are strongly associated with Holy Week and become more powerful during Good Friday, which was an Easter egg given to us by Red.
Then, when looking at the film's ending, one will have a profound reflection on the history of Filipino cinema and its preservation.
CONCLUSION
As someone who has carried on the legacy of being in a family of filmmakers, Nikolas Red opted to stay closer to his roots in his debut film. Based on the final output, it’s safe to say that Nikolas can steer the ship and venture into other projects, similar to what his brother has done in the past.
There was a lot of creativity involved in the film, Posthouse, which makes it a unique and memorable experience that fans of Filipino horror would appreciate.
But most importantly, there is an underlying message worth pondering on the value of Filipino cinema and culture.
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