In Tayo, sa Huling Buwan ng Taon, we see that Sam and Isa divorced five years after their divorce. The question of what will happen next on the screen, in accordance with the romantic genre.
The leak. Job. Gravity.
It is difficult not to remember the long walks they made five years ago to the LRT 1 station in Baklaran. We see a couple engrossed in conversations about their lives and tenderly showing their devotion in the train. Shortly after, we decided they weren’t really a couple. The whole premise of Ang Kwento Nating Dalawa caught our attention as the memory of a love that never existed, and we are as excited as that wasted boy’s cup.
Tayo, sa Huling Buwan ng Taon opens in a dusty hallway where Tey Clamor’s lenses cast a soft morning light on Sam Nikko Manalo, whose ever expressive eyes stare at someone or something across the hallway as the poem is read. It is December 2018 (hence the name), five years after a long journey home. Sam is now a teacher whose reserve, romance and charm suits his new partner and coordinator Anna (Anna Luna); Isa now works for the agency but will soon return to the United States. This time she went back to Frank (Alex Medina), her lover from the first movie we are finally going to see. These two fly away with another life, with new lovers living in a new way.
Each of the sequences is arranged side by side. It seems that in the way the two expatriates will meet in person, we will feel the unease, the absurdity of how they should remain friends or, if they should not, how we will see them both living side by side, happy and content in each other’s arms. (Yeah, it was a pun for all of us urbanduba fans).
Quiet scene in which Frank Alex Manalo looks at Isa.
Nestor Abroghena’s strength as a director is demonstrated by the fact that he organises the whole story with many references in both art and cinema. He managed to involve the entire film team in this 5-year project, which grew out of his little student film, which managed to attract a whole new audience of adult, millennia old viewers. In Tayo, he leaves nothing to chance. Never at the mercy of a single miracle, he learns from his first film what it takes to improve a simple story and let the characters grow along with it, with the greatest respect for the genre of romance.
Abrogena uses the power of Tey Clamor to render soft tones and angles that I can only describe as geometrically impossible (note the scene in the fire castle and the reflection of a figure in the car at the end), most are simply tasteful shots. The colour expert also did an excellent job in promoting vision. The scenario of Nestor Abrogen and Perty Brinyas is refreshing. A guerrilla photo of the Philippine fair hall, illuminated in the evening light by the slow rotating movement of their lenses to the meeting of Isa and Sam in the triangle of Ayala, perfectly fills the second act in which we will see this meeting again.
Like in orbit, the former lovers are in confrontation. There’s no need for chemistry, because it’s an autopsy of a relationship that ends. Meeting them in a bookstore may not seem like a comfortable scene between former lovers, but we still consider it something that can happen very naturally in real life when a person decides to become friends with an ex.
What happens next is a relatively important picture of all the films. Emmanuelle Vera makes herself seem vulnerable, and unlike other female heroines, who seem confused in their role as girls, she takes no revenge. Nikko Manalo is one of the most intelligent actors, who is aware of the roles he plays. Like Sam, he shows us the many consequences of the love of two women, with care and despair that appear in his eyes when necessary.
Top image in a scene, Anna and Sam, shot from the trailer.
I am happy with the personal placement of two other main characters, played by Alex Medina and Anna Luna. In romantic films we often forget those who have served as saviours and put them in the background. These two stay together, even if they see the betrayal before their eyes, they are valued with respect and are always treated like heroes that the other two do not deserve.
Tayo doesn’t pretend to be a perfect example for a romantic movie, but he is confident and honest, and that’s exactly what makes him so beautiful. Its effectiveness lies in the fact that it grows on you. This film tells the lessons of the choices we make and the fact that there is no better way forward.
Tayo, sa Huling Buwan ng Taon can always be seen in commercial cinemas and micro cinemas near you.
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