Odie (Jason Abalos) and his best friend Irene (Glaiza de Castro) are two outsiders who find a second home in the Philippine underground rock music scene. The two decide to form a band and put together an unlikely combo that consists of the school bully (Alwyn Uytingco), an ex-punk barista (Ketchup Eusebio) and a childstar-turned-band-manager (Matet de Leon).
The film follows their misadventures as they encounter satanic S&M bands, Samurai swindlers, narcissist rockstars and the most ridiculous music video shoot ever.
Some years in the making Rakenrol marks a welcome return for the talented Quark Henares. In between, Henares has turned in a TV series on the same subject, and opened a live music bar where he played with his band. This has all taken place over time, and time is certainly one of the subjects of the film.
The film is Henares’ fifth and most personal feature to date, reflecting his involvement in the Philippine underground music scene and the ups and downs of being in a band.
What begins as a youthful, rock’n’roll coming of age story, and cautionary tale about puppy love, turns into something more reflective and wise beyond the young age of its maker. Its central question — can good friends be true lovers — has preoccupied the cinema since its early years, and for good reason. This dilemma relates to the nature of commitment and how far one is prepared to go to realize success.
There is a melancholic wistfulness in Henares’ conclusion that captures the passing of time, the evaporation of dreams, and the nature of love.
Roger Garcia