The Puregold CinePanalo Film Festival is in full swing, and here’s part one of my three-part review of the seven full-length films in competition.

‘SALUM’

Edible scallops in Islas de Gigantes rarely produce pearls, and when they do, they’re not valuable enough to make anyone “insanely rich.” So let’s suspend our disbelief and treat this pearl-hunting premise as pure fiction—because the socio-economic reality Salum depicts is real, anyway.

In T.M. Malones’ father-daughter drama Salum, an impoverished single father, Kasko (Allen Dizon), obsessively searches for pearls in the northern part of Iloilo — not just out of financial desperation to provide for his teenage daughter (Christine Mary Demaisip), but as an escape from the mounting pressures of his life. This singular, maddening pursuit of relief and redemption is carried with grit and dedication by the ever-competent Dizon.

However, the uneven editing and pacing dilute the drama, with some scenes dragging unnecessarily. A significant chunk of the narrative revolves around the inconvenience of life without a cellphone, the search for a second-hand one, and its eventual theft —before we even get to the core of the story. And when we do, the execution feels monotonous, weighed down by scattered subplots that never quite tie together.

It’s also distracting that Kasko is the only one speaking in Tagalog. Meanwhile, Salum’s underwater shots are just that—underwater shots. Nothing extraordinary. Alas, not even Dizon’s committed performance can lift a tedious, lackluster story. (2 out of 5 stars)

‘JOURNEYMAN’

Never mind the gachapon scene, where two toy capsules were dispensed, yet the characters picked only one and ignored the other. Maybe a second take could have fixed this minor oversight — but okay, no big deal.Never mind that the ending feels so Ma’ Rosa (Brillante Mendoza’s 2016 masterpiece), too, because JC Santos delivers a powerful performance. The brilliant, versatile actor plays Angelo, an impoverished boxer forced to throw fights — deliberately losing in exchange for money, pressured by corrupt boxing handlers.

Directed by the Lat brothers (Christian Paolo and Dominic), Journeyman is inspired and heartfelt, elevated by visually arresting cinematography, textured and washed in a green cinematic palette. The editing is neat, and the boxing matches are engaging, with Santos — who trained for two months for the role — fully embodying the life of a fighter.

The final boxing match is thrilling because Angelo’s hope and autonomy heighten the stakes, even if his opponent sports a soft dad bod.

Meanwhile, Angelo’s friend, played by Ruby Ruiz, is a welcome, refreshing presence — a storied, mature woman offering advice with wisdom that never spoon-feeds the audience.

The film’s dialogue is well-written and delivered by the ensemble cast in a natural, conversational manner. Asthma is depicted semi-convincingly, and you experience Angelo’s sad life. So, you hope for a game-changing moment in his life.

However, one cannot fathom why Angelo allows himself to remain a “professional loser” for so many years. Sure, it’s for survival and quick money. But after all that time, he never seems to make any real effort to free himself from the corrupt system. Is he a coward? Or just too naive? He laments his life, weeps, yet clings to his comfort zone. The film fails to explore his psyche and interiority, focusing solely on external struggles. We never truly know our protagonist on a deeper level. Jasmine Curtis-Smith as his wife is underutilized as well.

But one can appreciate how Journeyman resists the usual poverty-porn tropes—no domestic violence, no descent into vices. It’s refreshing to see a resilient, loving family.

The ending, however, is merely a whisper of promise — not a solid hope. (3 out of 5 stars)

‘TIGKILIWI’