Eduardo Roy Jr. is fresh off his Cinemalaya win for 2016’s Pamilya Ordinaryo, so all eyes are on him as he unveils his follow-up, Fuccbois.
Gay indies are way past their peak — oversaturated in the 2010s, it seems as though we’ve exhausted all possible stories to tell and have developed some sort of fatigue. But here comes Roy making this genre relevant again, updating it with Gen Z sensibilities.
While comparisons to Ordinaryo are inevitable (CCTV and IG videos, the same banana), the film is much more tonally similar to Brillante Mendoza’s Kinatay (2009) and batchmate She Andes’ Pandanggo Sa Hukay. It immerses the audience to the “mundane” and “banal” world of sex and decadence in a slice-of-life fashion, then surprises us with one suspenseful scene after another. This structure gives the characters more personality and makes us understand their motivations as they make those (mostly reckless) decisions in the second half.
Roy is fond of injecting social commentary into his work; in this case, an increasingly weighty political angle introduced through the character of Ricky Davao. While seemingly anecdotal at first, it adds a whole new layer of meaning to the film. There are small clues here and there signaling the possible subsequent events after the credits roll, all thanks to this mysterious Genesis. You leave the cinema wondering how it will all play out for our leads. Politics, power, and queer: It just calls for a second viewing.
Speaking of Davao, what a fearless turn! He’s really one of the greats and a shoo-in for the Best Supporting Actor trophy. Kudos as well to newcomers Royce Cabrera and Kokoy de Santos for feeling as authentic as their predecessors Hasmine Killip and Ronwaldo Martin. Where does Roy get all these great acting finds? Yayo Aguila has a brief but very memorable, much-talked-about scene.
There’s expectation for Fuccbois to deliver provocativeness, fearlessness, and insight – and boy did it not disappoint!