After a four-year hiatus, the Sinag Maynila Independent Film Festival returns — with three competition sections. In the Feature section, there are seven competing films. Here’s a review of four of them.

THE GOSPEL OF THE BEAST

Sheron Dayoc’s coming-of-age drama examines a troubled youth’s descent into evil. Mateo (Jansen Magpusao) is the titular beast, who, from an early age, exhibits a propensity for violence. An incident forces Mateo to leave town and join Berto (Ronnie Lazaro), who runs a ring of hired killers.

The film is gorgeously lensed, with Dayoc sometimes framing Magpusao in kaleidoscopic, fractured lenses, pulling you into its harrowing world. Magpusao is effectively chilling, and Dayoc builds tension in violent scenes that often make you brace yourself. However, the film’s bizarre transitions and editing choices, along with a lack of deeper character development, weaken what could have been a powerful movie. (2.5 out of 5 stars)

HER LOCKET

J.E. Tiglao’s family drama, which follows his work on the superb Metamorphosis, centers on Jewel Ouyang (Rebecca Chuaunsu), an elderly, widowed Filipino-Chinese woman suffering from dementia.

Soon after the arrival of Jewel’s new caregiver, Teresa (Elora Espano), hired by Jewel’s only son, Kyle (Boo Gabunada), it is discovered that a locket makes Jewel lucid. She then begins to recount stories of her past.

The film uses engaging flashbacks to explore Jewel’s backstory and examine the culture and traditions of Chinoys in a saga-like fashion. The central theme, inspired by true events, addresses gender attitudes towards women, which somewhat reminds you of How to Make Millions Before Grandma Dies.

The shifts in perspective — Kyle, Elora, Jewel — loosen the narrative’s grip, but it is saved by an exemplary cast, led by Chuaunsu (who has won best actress awards abroad for her role). It tends to drag at times, but its sense of intrigue and earnestness earn your sympathy for the characters. (3 out of 5 stars)

SALOME

The film starts off as what seems to be a parody, with main character Andres (Perry Dizon), a renowned art critic and historian, talking about taking a sabbatical. It soon becomes clear that this is a serious drama, though it retains a mild comedic tone due to Dizon’s discomfort in his role.

Using just one camera and many still shots, this existentialist drama has a fascinating topic but could have been a richer, more cerebral experience if it weren’t bogged down by dialogue that feels generated by A.I. and delivered with forced naturalism by Dizon. Dolly De Leon, as Andres’ cousin, thankfully delivers an effortless performance.

The film’s slow-burn style might alienate viewers, and the film comes off more like scholarly literature or an academic journal. However, the conversations (which require reliance on subtitles) about the futility of art, culture, and history — all distorted by biases, politics, and inaccuracies — are captivating.

Writer-director Teng Mangansakan II clearly communicates these themes and focuses sharply on Andres’ existential anguish, making you empathize with him despite the actors’ palpable awkwardness.

As an atheist, Andres finds his life’s work suddenly irrelevant — first, due to a disease that robs him of the faculties needed for his career — then realizes that what he held in high importance (to the point of neglecting his family) is merely rubbish.

A case for the LGBT community is seamlessly integrated into the narrative, tying back to the story’s essence, Salome, an unconventional figure of sainthood, and the filmmaker’s representation of hope for a future with more freedom, truth, and equality.

Despite its intellectual depth, however, and the viewer’s empathy for the old man’s existential despair, the execution feels rough around the edges. (2.5 out of 5 stars)

MAPLE LEAF DREAMS

Benedict Mique’s love story set against the backdrop of OFW issues is earnest and inspired. It follows young couple Macky and Molly (excellent performances by LA Santos and Kira Balinger) as they navigate the difficulties of assimilating and surviving in Canada.

The most interesting topic here is how some Filipino families work for their relatives and the culture of “utang na loob.” The pacing is engaging, and the indie film has a Sundance vibe to it. Mique also never loses focus on his two leads (who are convincing as long-time lovers), especially Balinger’s well-developed character.

Because Mique used non-actors who are real-life OFWs to provide a sense of authenticity, it also works against him. While this technique has been used effectively in films like Jason Reitman’s “Up in the Air,” here it feels like forced melodrama.

When Macky and Molly (annoyingly calling each other “M” excessively and unnaturally in almost every line) decide to attend a holiday party, instead of allowing his characters to interact with guests to showcase true OFW stories, Mique opts for a jarring documentary-style format with lengthy testimonials.

Overall, however, it’s a well-written and touching social commentary that provides substantial insight into the life of an OFW. Molly’s reason for choosing Canada remains unexplained, though. (3 out of 5 stars)