By Herman M. Lagon
If films were dishes, Candè would be a heartwarming bowl of La Paz Batchoy—comforting, rich, and unmistakably Ilonggo. Invited by my good friend and former colleague Judith Angela Grey, I found myself at Festive Mall in Mandurriao, eagerly waiting for the 10:30 a.m. showing. Cinema halls 1 through 3 were sold out—no small feat for an Ilonggo film. Clearly, the word was out: Candè is something “extra super” special.
Directed by UP Visayas’ own Kevin Piamonte, Candè artfully tells a coming-of-age tale of two childhood friends, framed by the devotion to Nuestra Señora de la Candelaria, Jaro’s beloved patroness. Without revealing crucial plot twists, it is safe to say that Kevin carefully layers friendship, family, and faith with Iloilo’s vibrant fiesta culture and local superstitions. The full-length film’s clever interplay between the past (circa the early 2000s) and present times never felt forced, considering the challenge of avoiding any modern-day anachronistic slips.
Watching Candè, albeit just by myself in a filled theater, felt like going through a family photo album, instantly recognizable yet deeply personal. Authentic Ilonggo life unfolds naturally—especially the dining scenes. From the first frames of sumptuous dishes, viewers are immediately drawn in, compelled by hunger as much as curiosity. Indeed, Ilonggo cuisine and ‘chef-tainship’ are not merely accessories here; they are woven seamlessly into the narrative, creating sensory storytelling at their best. This is no accident but a deliberate artistic choice, grounding the story in something everyone can taste and feel.
One standout feature of Candè is its strong cast, particularly Jan Junash Delima as Boyboy, and the compelling JC Santos portraying the older Mot Mot. The seasoned Ilongga actress Sunshine Teodoro delivered beautifully nuanced scenes, affirming her status as one of Iloilo’s finest talents. Special mention must also go to beauty queen Pupa Dadivas, who in mere seconds—without a single line—managed to illuminate the screen. The joy of spotting familiar faces and places in fleeting cameos made the viewing experience intimate and uniquely Ilonggo.
The camera work, directed by a talented team including my former student Eddyl Tolentino, showcased Jaro at its finest. Shots were thoughtful and dynamic, capturing emotions and settings with skillful precision. However, if there was a minor melodic letdown, it was the background music. While generally appropriate and occasionally moving, few clips could have been elevated further to match the vivid visuals and emotions. A richer ambient score might have amplified those tender moments and heightened dramatic sequences more effectively. Nonetheless, former Pinoy Dream Academy Finalist Emman Abatayo’s original soundtrack, “Ari Lang Ako” (I Am Just Here), perfectly captures the essence of the film, adding emotional depth and beautifully echoing the heart of the Ilonggo story.
One of the movie’s profound yet subtle themes revolves around the “Tuburan” allegory—a powerful symbolic undercurrent about renewal and redemption. Piamonte masterfully weaves this into the narrative, allowing audiences to reflect deeply on their own lives. In fact, I surprised myself by shedding tears during key scenes, an occurrence rare enough to astonish even me. The emotional authenticity achieved by the cast and direction undeniably resonates on multiple levels, inviting the viewer to introspection without imposing heavy-handed morality.
Beyond the personal dramas and festive flair, Candè gently but powerfully highlights genuine Ilonggo traditions. Scenes depicting “pamilasyon” (wake rituals), heartfelt table conversations over meals, narratives of miracles, and devoted rituals during the Jaro Fiesta make viewers pause, recalling similar moments from their own lives. The film tactfully emphasizes faith’s transformative power without slipping into overly religious territory, making it accessible to people of varied beliefs.
Yet, the film is not without minor imperfections. The narrative, although well-paced, occasionally dwells too long on certain nostalgic points, briefly slowing the momentum. Still, the flaws feel authentic, much like life itself—never too polished, but always relatable. After all, perfection often dulls authenticity, and Candè wisely avoids this pitfall.
It is a profound tribute to Iloilo’s rich cultural heritage, and credit is undoubtedly due to the entire production team. Producers Rhea and Atty. Jobert Peñaflorida deserve applause for believing in and backing a project that champions local storytelling, even amid uncertainties of audience reception. Likewise, Piamonte’s thorough research and thoughtful depiction of Ilonggo culture make the film believable and deserving of recognition, both at home and abroad.
Candè proves well worth your time, money, and emotional investment. It reflects on friendship, community, and the quiet miracles in everyday life. Like a plate of adobo, the film blends culture, heart, and authenticity, capturing the essence of simple, meaningful moments. Just as Ilonggos take pride in their food—where every dish is a celebration of fresh, local ingredients—Candè offers a cinematic feast that resonates deeply with its audience.
Leaving the cinema, stomach growling and heart strangely full, I realized Candè achieves what few movies can: it genuinely connects, entertains, and leaves one profoundly grateful to be Ilonggo. In short, if you have ever felt nostalgia, loved fiercely, or cherished your roots, this film is one you cannot afford to miss.
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Doc H fondly describes himself as a ‘student of and for life’ who, like many others, aspires to a life-giving and why-driven world grounded in social justice and the pursuit of happiness. His views do not necessarily reflect those of the institutions he is employed or connected with.
