‘Ang Babae sa Septic Tank 3’ REVIEW: Bingeable mockumentary that also serves as a filmmaking and Rizal history crash course
‘Ang Babae sa Septic Tank 3’ REVIEW: Bingeable mockumentary that also serves as a filmmaking and Rizal history crash course
Marlon Rivera, Chris Martinez, and Eugene Domingo’s "Ang Babae sa Septic Tank" series continues to stand out as one of the wittiest and boldest local satires out there, addressing the state of our local film and TV industry, especially with all its exploitative tendencies and predictable elements. When the first film debuted during the 2011 Cinemalaya season, it quickly became a favorite among both fans and critics. It secured the festival's top accolade and cemented itself as the highest-grossing indie Filipino film during that time. The film humorously satirized the practice in Philippine independent cinema of exploiting the poor in pursuit of awards and validation from the West, which is a common aspiration among Filipino filmmakers.
The sequel, "Ang Babae sa Septic Tank 2: #ForeverIsNotEnough," continued its satirical elements. This time, it premiered at the 2016 Metro Manila Film Festival (MMFF), which was fitting for its critique of formulaic local romantic comedies in the mainstream media and their predictable tropes.
Both films have made an impact on Philippine cinema, sparking engaging discussions about the essence of art and its intended audience. Plus, Eugene Domingo's commanding lead performance as a fictionalized version of herself enriched the comedic premises of both films.
In this third installment, the legacy of this series lives on, now venturing into a new platform: an iWant TFC show.
In "Ang Babae sa Septic Tank 3," we once again follow Eugene Domingo's journey as she strives for greater success in her career. "I want more," she declares after enumerating the diverse roles and genres she has portrayed over the years: comedy, drama, action, sexy, horror, and even animation, among others. This realization leads her to a unique decision: rather than merely being another character in front of the camera, why not be the one beside it? After seeking advice from a trusted expert (a numerologist, that is), she wholeheartedly embraces this idea. What could possibly go wrong?
Oh, and the subject of her film is Josephine Bracken, one of Dr. Jose Rizal's lovers—because why not? To bring her vision to life, she enlists the help of Jose Javier Reyes (also portraying a fictionalized version of himself) to write her film’s script. However, there's a catch: Uge herself is playing the title role. This raises a major red flag, according to Reyes. "She’s fucking Irish! And you’re exotic!" he exclaims. But Uge's confidence and ego are so big that she will do anything in her power to portray the role on screen. What follows is a chaotic but delightful sequence of hilarity as she and her team navigate the process of creating her historical film, from pre-production to its grand premiere.
This show provides a breath of fresh air in our local television landscape by incorporating three elements or genres that are rarely seen on our local screen: mockumentary, behind-the-scenes filmmaking drama, and historical content.
By fully embracing the mockumentary format, the audience gains an unfiltered glimpse into Uge's authentic and eccentric behavior (even the talking heads mostly come from her!) It feels like you’re watching her vlogs until the camera betrays her just to show the side reactions of the supporting characters around her self-absorbed personality, which adds layers to this format. I'm pretty sure there's an improvisation going around while filming because the performances from the cast just radiate authenticity.
While the previous two films commented on the state of local indie and mainstream cinema, this series dives into the creative process and filmmaking intricacies, especially in historical dramas. For those aspiring to work behind the scenes in filmmaking, this show is a delightful treat. It educates viewers on what to do and, perhaps more crucially, what NOT to do when directing a movie or managing a production. It’s a filmmaking crash course, that’s for sure; even the episodes represent distinct stages of the filmmaking process. For instance, episode 1 focuses on the pitching stage; episode 2 on auditions; episode 3 on table reads, costume fittings, and other pre-production preparations; episodes 4 and 5 cover the actual production; episode 6 focuses on post-production; and episode 7 is the grand premiere.
Another interesting feature of the show is its inclusion of historical lessons, with Ambeth Ocampo offering informative insights on Dr. Jose Rizal’s life between scenes. Ocampo serves as a corrective force, addressing any historical inaccuracies presented in the series. However, Uge's character frequently brushes aside the historian’s input in her pursuit of bringing her creative vision to life. This includes decisions like casting the tall Tony Labrusca as the short Dr. Jose Rizal and adding a confrontation scene between Josephine and one of Rizal's sisters, even though there’s no historical evidence to support such an event.
While the show revolves around how one’s unchecked ego and obsession with power can lead them down a destructive path, it could also serve as a commentary on our current socio-political climate, drawing parallels to the unjust revision of our national history by those in power. You might say it’s creative or artistic license, but for some, it’s clearly historical revisionism. These themes culminate in the finale, as the consequences of our main character's actions come crashing down upon her.
Uge's performance once again shines, as she undergoes a gradual transformation into an unlikable character that you just want to slap across the screen. If you found her amusing and remarkable in the preceding two films, then you’ll find that her excellence has tripled in this installment. Every scene triumphs, largely thanks to her comedic flair. There's a point to be made about her character taking on a somewhat cartoonish quality towards the end, though there's no doubt that this ranks among her greatest performances in her career.
The ensemble cast of supporting performers also delivers remarkable performances that complement the show’s absurdity, particularly from Jose Javier Reyes and Mylene Dizon. I’ll vouch for the latter because she’s playing a "diva" here who is upset with Uge and is jealous of another actress (Joanna Ampil) for getting to portray one of Rizal’s sisters with a meatier role in the story, and it is truly a performance you need to witness.
Consisting of only seven episodes, each lasting around 20 to 30 minutes, this show is an easily digestible binge. While a few additional episodes might have smoothed out the conclusion, which feels somewhat rushed, the series still manages to be thoroughly entertaining. We need more content like this that amuses while being informative and provoking some serious discussions, and this third installment of the "Ang Babae sa Septic Tank" series unequivocally proves that.
Ang Babae sa Septic Tank 3: The Real Untold Story of Josephine Bracken is now streaming on iWant TFC
