‘Ella Arcangel’ is a Filipino animation we need

At the opening night of QCinema on 13 November — an international film festival born in Quezon City, now a UNESCO Creative City of Film — Mayor Joy Belmonte declared that Philippine cinema is “not dying.” It is “evolving.”

That evening also marked the world premiere of the festival’s opening film, Ella Arcangel: Awit ng Pangil at Kuko, held at the Theater at the Quezon City M.I.C.E. Center inside the Quezon City Hall compound. Officially announced by the mayor that Friday night as QCinema’s new home, the brand-new, 1,080-seat venue — where Ella was the very first film screened — is a fitting choice. It genuinely evokes an international film festival atmosphere, making festival going all the more fun and meaningful.

The mayor’s rally to keep the industry alive, I believe, would not happen without the criticism directed at Filipino films. More voices are heard on social media today, capturing the pulse of the public and the dismay of critics. Without this discourse, our local cinema wouldn’t have the fervor and passion to prove the cynics wrong.

I myself, by the way, am one of the cynics, one of the disillusioned. Aside from the gems at Cinemalaya — my go-to festival for local films that satisfy the mind and soul — it is hard to find local movies that excite me. There are diamonds in the rough at CinePanalo, like Mono no Aware, though finding that same excitement on the mainstream side remains difficult.

Ella Arcangel, opening film of the 14th QCinema, is a bright spot amid the dark. Adapted from Julius Villanueva’s comic-book series and directed by Mervin Malonzo, the animated feature is deliciously human.

Its visual style blends digital animation, comic-book drawings, and watercolor against a gorgeous, perpetually bruised, galaxy-like sky, creating a world where folklore and social realities coexist. This is way better than Forgotten Island, which I couldn’t watch past the 10-minute mark. Ella captures a distinctly Pinoy setting, offering a meaningful reflection of our folklore — mambabarangs, engkantos, tiyanaks and malignos — alongside the realities of police brutality.

A-listers Bianca Umali and Michael V. lead the voice cast, with Umali as the titular Ella, our young superhero, and Michael V. as Mimiw, her impatient, “ancient” cat sidekick and guide. They lend their characters natural, human voices. Unfortunately, the supporting cast still resorts to a “Batibot” style of voice acting, which feels jarring and outdated. Can’t they all just sound consistently conversational?

At the post-screening cocktails, Michael V. approached the table I was sharing with a QC City Hall worker and asked to join us. Well, of course! Naturally, it was my chance to ask the Bubble Gang genius a few questions.

I didn’t want to launch into an official interview while he was eating — he’s human first, celebrity second — so I didn’t record anything, though count this as accurate. He mentioned that he contributed some of his own lines to the film and noted that they recorded in QC, right near where he frequently plays pickleball. (I told him I haven’t tried pickleball yet.) Getting back to the movie, I pointed out that Mimiw uses hangal for stupid, while the other characters use tanga.

“Well, he’s been with Ella’s lola for the longest time, so he’s seen it all. He’s an old cat, with his scars, so he has a more traditional vocabulary,” he explained. That’s not his exact phrasing, since I had no recorder running — though it’s accurate information. Ask him, if you don’t believe me. I also asked if he auditioned or was handpicked, and he shared that Umali personally contacted him and encouraged him to join.

All in all, Ella is a very good movie and a refreshing change from the AI-generated slop flooding our feeds. It is an inspired work, with its shadowlands, visible and invisible monsters, and sharp examination of society. The urban landscape becomes a fascinating setting for provincial folklore. Sure, there are quirks — fog in the city? Loud action scenes that somehow don’t wake the neighbors? — but so what? I love Ella Arcangel’s world of talking cats, heartbreaking loss, bravery and enchantment.

Thought-provoking and entertaining, Malonzo’s shots are dynamic, with substance matching their visual flair. Most importantly, Ella has heart. I give it 3.5 out of 5 stars. It may not be groundbreaking, but it is a beautiful film and a proud achievement for Pinoy animation. Its visual interpretation of Villanueva’s comics feels distinctly Filipino, with an identity of its own — not some superficial DreamWorks movie with a token “Tayo na!” thrown in. Hahahaha. Sorry! Go watch Ella. QCinema runs until 22 November in select cinemas across Quezon City.