In a Davao slum, Rabat and Allen mostly play and spend their time near a polluted ditch all day. Although the film follows the daily lives of these two boys, it is not just another growing up film. With the opening scene of them laying in a ditch and talking dirty about girls on the shore, a long slow take starts the film. At this moment, we come to realize the film seeks nonlinear narrative. Calm images set the main atmosphere of this film. Employing the liquidity of digital camerawork, it examines the possibilities of image and sound in editing through dialogues, noises and ambient sound. Although it introduces these two mature children, the main character of the film is Punta Dumalog’s polluted ditch. The youth of the town share their hearts with the contaminated water together. The dirty ditch is a strange place saturated with political implications and sexuality. The place is a playground for children avoiding hot weather and for playing with insects, but to the youth it is a place of externalized sexual desire. Those youths floating on the dirty water seek themselves in a corruptive way. They are destined to stay here. The inescapable cycle of their life is covered by a gloomy atmosphere. Floating in their earthly desires, severe pain spreads through their blood.
(54999) 2F, Jeonju Cine Complex, 22, Jeonjugaeksa 3-gil, Wansan-gu, Jeonju-si, Jeollabuk-do, Republic of Korea
T. +82 (0)63 288 5433 F. +82 (0)63 288 5411
(04031) 4F, 16, Yanghwa-ro 15-gil, Mapo-gu, Seoul, Republic of Korea
T. +82 (0)2 2285 0562 F. +82 (0)2 2285 0560
(54999) Jeonju Cine Complex, 22, Jeonjugaeksa 3-gil, Wansan-gu, Jeonju-si, Jeollabuk-do, Republic of Korea
T. +82 (0)63 231 3377