Review: Pinoy Sunday

The buddy movie and the road movie are two niche genres that provide ample opportunity to flesh out characters and focus on a tighter narrative rather than a sprawling, convoluted piece. It is for this reason that Taiwanese director Ho Wi Ding has created one of the earliest sure-fire bets of the festival in Pinoy Sunday, a film about two Filipino migrant workers and their pursuit of ultimate comfort.Based loosely on the Roman Polanski short Two Men and a Wardrobe, Pinoy Sunday is about Dado, a family man who has left everything behind in the Philippines to earn more money in a bicycle factory in Taiwan, and Manuel, a wannabe ladies man who is always ringing his hands for a scheme yet always coming up short. The two friends feel their surroundings have stunted their potential, especially Manuel, who only desires a little comfort on the roof of the dormitory he and Dado stay in, which he thinks can lead to bigger and more prosperous things. Down on their luck one Sunday the two find the key to change in their lives by way of a luxurious red leather couch left on the side of the road. From here hilarity and the test of a friendship take control as Dado and Manuel attempt to bring the couch back from a place where “Taipei 101 is very, very big” to their dorm where “Taipei 101 is very, very small.” Dado’s words, not mine.

With most North American breeds of the buddy or road movie there is the inevitable breakdown midway through the narrative where both characters decide to go their separate ways, only to be reunited by chance to reveal their true friendship. This isn’t the case in Pinoy Sunday and it could not be more refreshing. Granted, though both Dado and Manuel find themselves in some trying moments with each other, their bond is stronger than the couch and is only reaffirmed obstacle after obstacle.  This is achieved through the smart level of play between Dado (Bayani Agbayani) and Manuel (Epy Quizon) and some very snappy dialogue.

Equally interesting is the use of colour in the film. The drab urban sprawl of Taiwan can typically find itself awash in a sea of greys, however Wi Ding’s use of the bright red couch and equally bright attire for Dado and Manuel create a level of fantasy in the film. The fantasy element, of course, is only solidified by the occasional musical number which will leave you grinning in such an honest, lighthearted film.

As a feature length debut Ho Wi Ding’s Pinoy Sunday is an excellent bet for under the radar viewing at this year’s festival; especially for those who tire of the hustle and bustle of galas and want to see what a film festival is all about. Not to be missed, Pinoy Sunday reaffirms the potential of good friends and the lengths we go to for them.

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