The kids are not all right

Review of Ivan Andrew Payawal's "I America"

Bela Padilla as Erica. (screenshot lifted with permission from I America's FB page.)

The subject of Fil-Am children in Olongapo has already been explored on film, but perhaps not as outrageous and heartbreaking as Ivan Andrew Payawal's sophomore feature "I America."

We follow Erica Berry (Bela Padilla), a former call center agent who dreams of making it big in the entertainment industry. We see her audition for commercials, armed with imperfect English and her drive to seek greener pastures for her family. Erica is another one of the countless fatherless individuals in Olongapo, as a result of the prolonged stay of U.S. soldiers in Subic. But unlike others, Erica actually managed to find her father, John Berry (Rob Rownd).

Payawal, who also wrote the script establishes Erica's predicament early, as she finds out her surname may in fact be Perry, not Berry. On the brink of being petitioned abroad by her father, Erica confronts the seemingly root of all her misfortunes: her biological mother Rose (Elizabeth Oropesa), a strip club owner and former prostitute.

"I America" is compelling in its exploration of the dysfunctional relationships of its characters, especially that of Lui Manansala who plays mother to a family of adoptive children. Her only biological daughter is Joan (Sheena Ramos), who works in Rose's strip club and is about to set flight for Japan, as a hotel entertainer. Despite this, we never see her play favorites among her children.

If only for Payawal's earnest desire to pay tribute to mothers, in all shapes and sizes, and to children in constant search of their identity, who are the real victims in this unjust social setup, "I America" earns its stripes. The film gets noisy at times, with some jokes tending to be overlong or repetitive, and there are at least three endings in this movie. Nevertheless, "I America" has a heart as a big as the void in Erica's search for identity.

Sheena Ramos as Joan and Elizabeth Oropesa as Rose. (screenshot lifted with permission from I America's FB page.)

But when the jokes do count, they really hit you like a freight train. The dinner scene is especially hilarious, as well as all scenes involving Sheena Ramos. In fact, Ramos steals the movie as Joan, an eager-to-please stripper with serious daddy issues (an understatement for the entirety of the film's characters, Erica included). She approaches her character in full camp mode that even at supposedly serious moments, such as the funeral scene, tragedy turns to comedy. Ramos could very well have been in that "Temptation Island" remake, given the amount of campiness in this movie.

Thou Reyes, Rhyzza Kafilas and Raflesia Bravo as a trio of wannabe singers also contribute hilarity to the mix, adding texture to Erica's unconventional family.

Elizabeth Oropesa proves why she is still one of the most capable actresses today. As Rose, Oropesa channels a devil-may-care demeanor heightened only by her drunken stupor. Yet when push comes to shove, Rose lectures Erica a thing or two about family dynamics, a lesson Erica will never forget.

Rose (Elizabeth Oropesa) lectures Erica (Bela Padilla). (screenshot lifted with permission from I America's FB page.)

The film's insistence on its characters' constant pursuit of fame and fortune echoes the consequence of their abandonment, that fatherless children also aspire for greatness. But perhaps, their desire to succeed is greater, because of society's prejudice and ignorance. These children, most of who will never get to meet or know their fathers suffer the most.

Erica's journey in this labyrinth of lies and veiled intentions is poignant to watch. As Erica, Padilla displays such vulnerability that when she begs John Berry to take her to America, the poignancy reaches the roof. Meanwhile, the empathy is earned. Erica is a well-drawn character that her actions and motivations are clear, even when in haste.

Payawal is sure of his stand on the subject of child abandonment: that irresponsible parents are jerks, children suffer the greatest, and the search for one's identity and self-worth lies not on looking back, but looking forward. If you can go beyond the noise and the indulgent storytelling, "I America" works wonders.