SEASONED FILMMAKER Chito Roño brings the real-world horrors of marital infidelity and dispute over land inheritance to the silver screen in “Espantaho,” a horror drama about a family jolted by the demise of its patriarch and the harrowing conflict that follows during the pasiyam or the nine days of prayer after a person’s death.
Starring in the film is Judy Ann Santos, who plays Monet, who has the ability to see the spirit of her departed mother, Rosa (played by Lorna Tolentino). Rosa is the mistress of the also-departed Pabling Ventura, whose wedded wife is Adele (played by Chanda Romero).
Because she struggles with seizures and speaks with her deceased mother’s spirit, Monet is labelled a lokaret (crazy). The titular espantaho (scarecrow in Filipino) created by fictional artist Silvio Madamba serves as a sinister figure.
With powerhouse performances from the trio and the rest of its seasoned cast, “Espantaho” delivers strong acting throughout, and at times, becomes the lone bright spot that propels the narrative forward.
The film struggles to meet the standards expected of a horror film. It notably lacks the spine-chilling suspense central to the horror formula, leaving audiences disengaged from the 90-minute narrative.
This perhaps stems from the film’s inability to properly build up sinister scenes and effectively utilize CGI effects, both common flaws in Philippine cinema. Conflict ultimately makes up for these defects, as the viewers are immersed in the dilemma of Adele, who teeters between forgiving and exacting vengeance on her departed husband’s illegitimate family.
Seeing three icons of Filipino drama — Santos, Tolentino, and Romero — share the screen is a cinematic treat. Equally impressive are the supporting performances of Mon Confiado, Janice de Belen, and JC Santos. Though MMFF entries typically cram big names for the sole purpose of commercial appeal, “Espantaho” actually delivers an acting masterclass.
Roño stays true to his signature style in “Espantaho.” He integrates Filipino religious and cultural traditions, such as the pasiyam, to add depth to the narrative, a formula reminiscent of his other horror drama classics such as “Feng Shui” (2004) and “The Healing” (2012).
“Espantaho” is far from a perfect horror film. Its true horror lies not in its scarecrow or unsettling imagery but in the emotional scars left by infidelity on both legitimate and illegitimate children, and especially on the women who fall victim to such betrayals.
