Usually, Philippine films under the sex-comedy/drama genre get categorized as such only by name. While marketed as mature-role vehicles for particular stars, these films end up simply hinting at the idea of exploring sex; instead relegating the latter to the backseat by merely using it as backdrop for the comedy (or drama) that the films are actually selling to the audience.
This, then, makes Victor Villanueva’s “I Am Not Big Bird” an interesting case. Here’s a film that really works when it focuses on its theme of sex-positivity (coupled with sheer absurdity), but really misses the mark when it tries to be sincere. And at a time when Philippine cinema sees a gradual de-stigmatization of the portrayal of sex on screen, films like “I Am Not Big Bird” should serve, not as a benchmark for the best it can offer, but as a jumping-off point for what’s ahead.
Luis Carpio (Enrique Gil) is someone you can call a good man: a bank employee who does his job well, sometimes to the consternation of his clients; he also continuously rebuffs the inappropriate advances of his bank manager, much to the latter’s dismay. He’s also staunchly loyal to his girlfriend Cathy (Ashley Rivera), to whom Luis plans to propose for marriage after five years of being together.
Imagine his shock when after mustering the courage, Cathy turns him down. The reason? Their relationship has become predictable, devoid of any excitement. For Cathy, spontaneity and fits of passion are necessary to keep the fire burning, not the repetitive ‘steak for dinner and hang out at your flat’. Add to this that Luis never initiated any sexual advances during their time together, something Cathy has long wanted.
Of Vacations for Healing (and Pornographic Doppelgängers)
Reeling from the unexpected rejection, Luis decides to act on impulse, meeting with his long-time friends Macky (Nikko Natividad) and July (Red Ollero) and offers to treat them to an all-expenses-paid trip to Bangkok. Upon their arrival in Bangkok, however, Luis finds himself the center of bewildered attention from the locals — some with fascination, others ending with unprovoked slaps in Luis’ face.
Thanks to July’s penchant for shouting ‘titi’ (the Tagalog word for ‘penis’) in public, they get the attention of a Thai local who thought they were calling him. Prajak Tithi (Pepe Herrera) offers to tour them around Bangkok, a trip that helps contextualize the predicament at hand: Apparently, Luis bears an uncanny resemblance to Big Bird, a legendary Thai porn star famed for his impressive endowment and star of several underground pornographic films.
However, Big Bird mysteriously disappeared from the public eye, explaining the reason behind the awestruck stares. The arrival of Luis and his friends in Bangkok, conveniently, also gets the attention of one powerful Thai boss named Deborah (Wipawee Charoenpura), who would stop at nothing to find Big Bird, even if it meant killing people standing in her way. And while this spells trouble for the men who only went vacationing for Luis to say yes to life, hilarity and campiness ensue as everyone joins in on the fray to look for the missing Big Bird.
‘I Am Not Big Bird’: A [Sometimes-Flaccid] Middle Finger to Censorship
Written by Lilit Reyes and Joma Libayen, “I Am Not Big Bird” was based on the experiences of the former’s friend while he was on a vacation in Thailand. In that true story, several women mistook him for someone, which understandably confused the man. Taking this premise as the central idea, the writers teamed up with Villanueva to direct a film that’s his most unhinged and irreverent.
Here’s the point: The film works best when embracing its sex-positivity, even when the narrative teeters on the brink of nonsensicality. Moments where it addresses the audience directly in a tongue-in-cheek way to poke fun at how to easily circumvent both Philippine and Thai censorships regarding pornography are an example of its highlights. The dick jokes (from wordplays to literal dick slaps in all their pixelated glory) are another.
Enrique Gil’s character crying over the realization of how bad of a friend he has become isn’t.
But I guess this speaks of a larger issue in the Philippine cinema. I don’t even mind how much of the film’s spirit made me remember films like “Yes Man” and “The Hangover.” The fact remains that this film got made and released by a major studio. That’s indicative of a change in audience perception of portrayals of sex and sexuality on screen.
And while whether this shift leads to better-quality films remains up in the air, director Victor Villanueva’s sex-comedy — wildly uneven it may be — should be a good springboard for what’s to cum. Er, I mean, come.
A self-described cinephile who can’t stop talking—and writing—about films. Paul also moonlights as ghostwriter and editor for a few memoirs. He currently resides in the Philippines.
