Assisted by clever editing that replays previous scenes in slightly extended form, shedding greater light on characters and conflicts, the pic is constantly engaging and frequently moving.
By dissecting the issues arising from a very specific troubled group, she navigates the blurring of cultural and national identities of individuals who are caught in a trap between two countries.
Transit is told from the various perspectives of its many characters, often repeating certain scenes to reveal facets that can only be depicted if seen through the eyes of the various participants. It has all the ingredients of an international scrutiny.
Scenes set among the larger Filipino worker community around Tel Aviv effectively capture the spirit of camaraderie among outsiders, as well as the flipside of suspicion surrounding those who may have turned informant for their own gain.
You feel out of place, lost and a constant stranger even if you speak the language of your adopted country.
She lets the stories of each character unfold, paying equal attention to each character. They insist on their being Filipinos, forcing that dated idea of nationality to their children. As a result, we are able to see the same spot from many different angles. Bottom line, the film declares that ordinary Filipinos past, present and future do not have a place in their own land.
With tough new laws promising the removal of children under 5, Moises takes the Hannah espia s transit analysis step of keeping Joshua indoors until his next birthday, at which time his legal position improves somewhat.
The differences between the Filipinos and the country they adopt as their own but barely tolerates them are tremendous. Hannah Espia is the latest director to venture into the unending Filipino diaspora, but this time, Espia takes us to Israel.
You can sense that she is not just reciting her lines phonetically; she says them with enough potency as when she delivers her lines in Filipino. Embellished sparingly with visuals that are never too extravagant, too opulent to distract, the film is painted with delicate colors, which complements the fragile situations the characters move in.
In truth, the story that Espia explores is one that seems too removed, too remote to be of moment. You are constantly insecure. Considering she plays a Filipino who learns Hebrew at work, any mispronunciation is still within character.
We will seek other places to find hope or surrender to indifference and helplessness. Screenplay, Giancarlo Abrahan, Espia. How long can Filipinos abroad impose their identities on their foreign children? Israeli civilians are shown as sympathetic to the foreign-worker cause; immigration officials and police are seen as neither relishing nor objecting to their work.
Her scope is immense but she laudably concentrates on very palpable and very specific frustrations, heartaches, and triumphs, emotions that are shared by all of humanity.
She also has to manage Yael Jasmine Curtis-Smithher teenage daughter from an Israeli former flame, who now has to grapple with being neither Filipino nor Israeli.
Espia covers the extent of the difference, by chronicling a Philippines that seems to dissipate even more every year. Wisely resisting the temptation to tubthump on political themes, Espia and co-scripter Giancarlo Abrahan stay firmly focused on how such laws impact on human relationships.
Tagalog, Hebrew, English dialogue. The screenplay is almost flawless and her direction confident. Tina carries her homeland inside a worn luggage. The biggest laurel goes to the impeccable Irma Adlawan who delivered her lines in breathy and highly emotionally charged Hebrew. Unless social justice is imposed, being Filipino is just a name.
Transit is a document of fractured identities, an essay that declares the very familiar concepts of citizenship and nationality as shallow facades that are maintained by laws and enforced by borders.
In some degree, this theme has been a staple in various film festivals. Espia paints a scenario where the characters are all confused, all tired from futilely maintaining illusions from a faraway motherland or struggling between two clashing alliances.
At what point can a foreign-born Filipino still consider himself or herself a Filipino? Janet and Moises speak both Filipino and Hebrew. Instead of focusing on a single perspective, Espia skillfully intertwined five different points of view to present a bigger and more complicated picture.
However, what Espia manages to do is tremendous. The story takes place in andwhen Israel announced changes to citizenship status of children born to foreign workers. She offers trinkets from home, packets of sour soup to remind her hosts of the Philippines they have not visited in decades.
Transit is a marvel of restraint and control. Tina Mercedes Cabralfreshly plucked from the Philippines and assisted by Janet to her new life as an overseas worker, witnesses a family in fear of being suddenly uprooted from a foreign land that they have decided to call their home.
Specifically, it proves that Filipino thespians can go the distance.Hannah Espia is an up-and-coming young filmmaker based in Manila, Philippines.
Transit, Espia’s debut feature film, premiered at the Cinemalaya Philippine Independent Film Festival in July to critical acclaim and won ten awards including Best Picture, Best Director and Audience Choice, heralding Espia as an emerging new voice in.
Hannah Espia's Transit deals with the struggles of an extended Filipino family living and working in Tel Aviv after the Israeli government passed a law forcing children of overseas workers who are.
Hannah Espia's Transit: Analysis. Topics: Philippines, Mind, A Good Thing Pages: 3 ( words) Published: January 9, In the present world where a lot of political disputes arise, natural disasters occur in a flash, and laws are being violated almost everywhere, did you ever wish you could just go back to those days when you were a.
Transit is a Filipino independent drama film written and directed by Hannah Espia. The film follows a story about a single father who is forced to hide his children from immigration police in Israel after the Israeli government decides to deport children of immigrant workers.
It is Espia's full-length debut film. Transit is a film where five different perspectives of Filipinos who are connected with one another are narrated, as the father of the four-year-old boy faces the fear of his son’s deportation from Israel due to failure of meeting the criteria.
The law catches up with the little boy, sending him. Jul 30, · Hannah Espia is the latest director to venture into the unending Filipino diaspora, but this time, Espia takes us to Israel. “Transit,” however, presents a relatively innovative approach to storytelling.Download