MMFF Review: ‘Kampon’ and its issues with restraint

There are a lot of things that I liked about director King Palisoc’s ‘Kampon.’ It’s a cerebral horror that is unafraid to get weird and strange or even silly. It’s highly stylized with a generous use of wide-angle lenses to distort the imagery and amplified with a discordant musical score to underline its horror genre roots. It’s a complex story in a world that is rich with lore and a hidden, unexplained world that shrouds the film in mystery. What is unfortunate is that it takes an artful approach to horror, choosing to hold back, to be restrained when the film is in need of sentimentality and emotion.

For some reason, as the film unfolds, I felt that this film was better suited for Cinemalaya or QCinema than the MMFF. While all the narrative elements that were needed to create an unapologetic horror film was present, it was never delivered and instead it presented us with a film that fell more into the independent film mode and required more from its audience than what they might be expecting from a film in this particular festival.

‘Kampon’ is the story of a childless couple, Clark (Derek Ramsay) and Eileen (Beauty Gonzalez), who are plagued by society’s demands of completing a family unit with children. The societal pressure that comes from all fronts is a touchy subject for the couple. One rainy evening, a child knocks on their door looking for Clark, the former police colonel, and asks him to help her. She claims that he’s her father and this sends the couple into a tailspin.

Clark is on a quest to uncover the truth – after all, how can he have a child, he’s sterile – while Eileen’s own desires for motherhood are triggered and activated by the young girl, Jade (Erin Rose Espiritu). But as these films go, the child is not what she seems to be and as she entrenches herself into the lives of the couple, she brings with her sinister and dark forces at play.

Palisoc, with writer Dodo Dayao, create a world that is dark and full of terrible, horrible things. Clark is consumed by a memory from his police days that haunts him so much that he sleeps with a loaded gun by his bedside and has installed multiple CCTV cameras all over his house that he checks constantly. Echoing Jade’s own past, her mother (Zeinab Harake) was subjected to a dark ritual after she was hurt by some unexplained tragedy. What makes these two events so striking is that they don’t occupy the same space in the narrative. They are too separate stories that come crashing together in Clark. This is a bigger world, with a bigger lore behind it and one that is fascinating to explore.

It is in the filmmaking that the film finds uneasy ground. Pushing more for style and a cerebral tone, the film keeps its distance from its characters, We never get too close to them to truly empathize or feel with them. The film keeps the energy and tonal strength at a steady level that we never feel drawn into these characters and their problems. While I’m usually a champion of restraint, I would have liked a few moments of tenderness between the couple, a moment for me to fall for them, to care for them, and for me to cheer them on. I think it’s telling that when Jade tells the couple that her father is Clark, the audience’s reaction to my screening was that of laughter and “bro, you got caught!” rather than shock, surprise, and “oh no! Did he cheat?” There’s a clinical way in which the dialogue is delivered, a tonal issue, where there are pauses and gaps between lines that makes it sound scripted. It works for films like ‘Killing of a Sacred Deer’ that feels off-kilter, but other than the visual representation with the wide-angled lenses on certain parts, the film feels leaning more into that of realism than formalism.

There’s actually a lot about ‘Kampon’ that I really liked. I liked when it got weird – and it does – where it presents a frightening substory that is never fully explained just for the sake of the frightening imagery it creates. I love that level of confidence. I love how it takes a nightmare sequence and fills it with the prophetic warnings of present and deceased characters in the film all shouting their calls for caution and they are accompanied by an animal mascot that showed in an earlier scene. The magic of the world is unexplained, and I love that about this movie. But the core of this film is that of Clark and Eileen and because it keeps a distance from its main characters, I feel that I was distant from the story itself. I was more interested in the world the film created than the story that runs through it. This makes for an interesting film for one of the independent film festivals, like Cinemalaya or QCinema, but for an MMFF film, it feels out of place.

My Rating:

Kampon is now showingCheck screening times and buy tickets here.