Rant and Rave: ‘Sana Dati’

‘If only’ is a rough English translation of ‘sana dati.’ It is also a thought that weighs on our heads on occasion, and at times, it is one of the more poignant questions we can ask: ‘If only I had done this,’ ‘if only this didn’t happen,’ would things be different?

That sense of regret, that wistful sentiment is a central theme in the third and final entry of Jerrold Tarog’s Camera trilogy that began with Confessions (2007) and continued with Mangatyanan (2009). While the films in the trilogy are not directly related, they are unified by protagonists who use cameras.

In Sana Dati, Dennis Cesario is a wedding videographer who is hired to cover the wedding of Andrea (Lovi Poe) and Robert (TJ Trinidad).  His intentions, however, go beyond just filming. For Andrea, he turns out to be an echo from the past, albeit a stranger, inevitably shaking up her already frail resolve.

Director Jerrold Tarog cites his own days as a wedding videographer as inspiration for the film. He recalls wondering, what could a cameraman tell the bride to rattle her on the day of her wedding?

Andrea, the bride, is an anti-hero of sorts. Lovi Poe excellently portrays a character that is both selfish and irresolute, whose actions are whimsical and destructive. On paper, she is a character that is easy to hate, but it is difficult not to empathize with her despite her flaws. And she is indeed shaken by the presence of the quiet soft-spoken Dennis.

Who is Dennis to Andrea? The story unfolds in a series of flashbacks, which is sometimes confusing, sometimes enlightening. At the center of these flashbacks is another man, Andrew (Benjamin Alves), but what role he plays is another question mark.  The method leaves enough for the imagination to conjure up the worst possibilities, but not enough to be assured of it.

The bulk of the story is moved through the dialogue, but it’s the silent moments that shine in the film, giving a strong sense of intimacy. The background sounds are often kept to a minimum, only slightly escalating in line with the rising tension. The cinematography, particularly the lighting and shot angles, lend an air of wistful magic, something ethereal yet personal. The drama is so well done that it’s almost easy to forget it is a romantic comedy, and the humor isn’t corny either.

Sana Dati, at its core, is a simple enough story that is set apart by the way it’s told, from the gripping atmosphere to the little symbolisms that aren’t so esoteric. It’s a unique take on the saturated Filipino Rom-Com genre that hopefully sets a precedent—if you don’t mind the emotional hangover.

Rating: 4.0/4.0

Sana Dati first premiered as an entry in the Director’s Showcase of this year’s Cinemalaya, bagging eight awards, comprising of best sound, best musical score, best editing, best production design, best cinematography, best supporting actor (TJ Trinidad), best director, and best film. You can catch Sana Dati during its theatrical release beginning September 25 in theaters nationwide.