Immensely relevant, ‘Kip Oebanda’s ‘Balota’ is a timely call for the people to wake up and take charge of the nation’s future by being savvier about our elections and our politics. The film takes a dark, satirical tone to give voice to what the film expresses as something we all are aware of – corruption, dirty politics, election fraud and theft – but seem incapable of stopping. With a brilliant cast, ‘Balota’ is spread thin by the film’s two-pronged approach: mainstream sensibilities and an independent filmmaking style. The film is successful at what it sets out to do in its messaging but struggles to fully utilize either of its approaches to make something that really stands out.

‘Balota’ is set in 2007, in an unnamed, small rural town during its mayoral elections. On one hand is the incumbent mayor (Mae Paner), a land grabbing politico who is well-known for her affairs and policies on work and employment that have caused casualties while her opponent is a former sexy-star-turned-politician (Gardo Versoza) who promises a change of guard. Caught in the middle is Emmy (Marian Rivera), a tough, well-loved teacher who is assigned as a poll watcher and as she must deliver the ballot box to the governor’s office for counting, she escapes with her life from an armed attempt to steal the ballot. Alone in the woods and with no one to trust, she has to figure out what to do with the ballot box that is handcuffed to her hand while fearing for the safety of her son (Will Ashley).

Oebanda creates a vivid world. He dramatizes for us, in simple terms, the way these things work during elections. He shows us how votes are bought, how goons shake down the people, and how even the police are involved. The town is a living, breathing entity with its own thoughts and agency. Emmy’s son, Enzo carry a superficial discussion on politics with his cousin Jimbo (Raheel Bhyria) that shows us how the youth have interest but still need to dig deeper into the layers of politics outside of image and branding. The cops, through the characters played by Joel Saracho and Royce Cabrera, show different aspects of people all just caught up in the crossfire. At one point, the film even takes time to focus on two members of the queer community – played by Sassa Gurl and Esnyr Ranollo – and how a job can be opposite of your own political views while Donna Cariaga plays a woman leading a protest for worker’s rights and justice for her dead husband against Mae Paner’s incumbent mayor.

It’s a wonderful interweaving of real-life issues and characters with different motivations and value systems and it’s so interesting to watch as the film shifts from a satire to political thriller as Emmy has to literally fight for her life. As the film unfolds, it builds up on the campier aspects of satire, moving more and more towards the absurd. At the film’s third act, Emmy faces off with the main antagonist and they have a back-and-forth that is straight out of a teleserye only elevated by Marian Rivera and her co-star’s (won’t reveal to spare you of a spoiler) magnificent acting.

But it’s this aspect that I find the weakest in the film. The film carries mainstream sensibilities – this is a film Oebanda needs people to see and so he casts Marian Rivera and creates a plot that is thrilling and exciting but carries with it an idealistic ending (but still with a sharp ending commentary) and a mainstream tone – but it’s shot and filmed like an indie movie. There’s a lot of holding back to try and keep the film grounded in its aesthetics and pacing. It’s not quick in its narrative rhythm as it likes to linger to try and evoke thought. There’s still a feel and an aesthetic that keeps it feeling like an indie film when the foundation of the story feels better suited for a mainstream film. It saddles uncomfortably in the middle and I feel the film would benefit more if it leaned in more to any other two sides.

But despite my observations, I love the performances in the film. Rivera manages to truly be in the moment and really captures all the layers that makes Emmy such an interesting character. She’s tough but loving and the way every character reacts to her as written is supported by the way Rivera realizes the character. She has a strong moral center but never makes it corny or fictional. She is vulnerable when her character is pushed to the limits, but you can also see her gather her strength when her character needs it. It’s a magnificent display of Rivera’s range. Everybody else manages to elevate the material with Royce Cabrera, Joel Saracho, and Gardo Versoza also showing off their immense range. 

My Rating:

Balota is now showing! Check showtimes and buy your tickets here.