DAGITAB POSTER_PrintVerdict: Value for Money

Pinoy Rebyu Score: 3.98 (25 ratings)

Genre: Drama

Writer/Director: Giancarlo Abrahan V

Cast: Eula Valdez, Nonie Buencamino, Martin del Rosario, Sandino Martin, Max Eigenmann

Synopsis: While the marriage of two professors is on the verge of falling apart, the woman is dragged into a scandal involving a young student. On the other hand, the man falls in love with his research — a deity (supernatural being) that appears to him as the ghost of an old flame.

MTRCB rating: R-16

Running time: 120 mins

Trailer: 

Reviews:

5.0         Renelson Morelos (Ramblings of a Film Urchin)

“Channelling the vibes of an Ingmar Bergman psycho-drama, a Woody Allen intelligent comedy and those French romantic yarns, Dagitab is a subtle and savvy exploration of a marital crisis, infidelity, sadness, longing, love and artistic/literary pursuit.” (Read full review)

5.0         Jaynormous Mind

“From the first frame to the last, Dagitab inspires you to think endlessly. It is mysterious yet captivating. It takes it time yet it’s gripping. It thrives with its emotional dialogue but it blossoms even more when it’s quiet. The combination of thought-provoking words of the script and silent scenes is wildly alluring.” (Read full review)

5.0         Carl Jerome Velasco (The FilmSoc Report)

Dagitab feels uncertain most of the time, but in a way that it seeks more than what is told. There are many questions that it asks, and the way Abrahan leaves alone the leeway for resolution is sensitive, responsible, artistic, but most of all honest.” (Read full review)

5.0         Armando dela Cruz (Film Police)

Dagitab radiates in visual and textual opulence that only the deftest of hands can achieve.” (Read full review)

5.0         Misstache

“The strength of the film lies in the volume of things it want to tell you, but it doesn’t. Many scenes are like visions of poetry laid out in front of you and when the characters speak, they are music to my ears.” (Read full review)

4.5         Jefferson Chua (The Waking Life Is Worth Living)

“Portraying academics and researchers in film creates a potential for hifalutin discourse, not to mention pretentious plots that reek of bourgeois sentimentality and unfounded and/or imagined messianism. Dagitab manages to avoid these pitfalls by emphasizing on the dynamics of the relationships between the different characters of the film.” (Read full review)

4.5         Zig Marasigan (Rappler)

“Written and directed by Giancarlo Abrahan, Dagitab simmers its story and slow cooks its characters into a fine dish. It’s a serving not made for everyone, but for those with the palate for Abrahan’s particular kind of filmmaking, Dagitab delivers on a subject that is often tackled in mainstream cinema but never quite in the way that satisfies like this.” (Read full review)

4.5         Carl Papa (Whatever Carl)

“The film boasts superb lead performances from Eula Valdez and Nonie Buencamino.  Both bringing their A game to the film.  It is also worth mentioning that I was pleasantly surprised with how good Martin del Rosario was.  Methinks he could be in the running for best supporting actor award?  I hope so.  Ditto to small role by Santino Martin, who was very memorable albeit small screen time.” (Read full review)

4.5         Dicot Alvarado (Letterboxd)

“The film brings new intelligence to ideas of love and affection both new and old, and the endurances large and minuscule one experiences that can affect the joy or the mundanity of a relationship. Ultimately it lingers on the smaller moments, finding beauty in the tiny details and moments both strange and familiar that give life and love meaning.” (Read full review)

4.5         Irvin Malcolm Contreras (Letterboxd)

“The film is flawlessly acted (led by Eula Valdez and Nonie Buencamino) and beautifully shot and goes into unexpected directions without falling into the traps of simplistic sensationalism or histrionics.” (Read full review)

4.0         Skilty Labastilla (Pinoy Rebyu)

“Abrahan is an exciting new voice in Philippine cinema, injecting a film language influenced more by world (specifically European) cinema yet integrating very Pinoy mythology (his short May Dinadala captivatingly explores a love story between a man and a folk creature). The extremely photogenic Dagitab shows a filmmaker in full control of his material that all a viewer has to do is sit back and embrace the strange, entrancing experience.”

4.0         Philbert Dy (Click the City)

“The film seems to actively avoid what one would recognize as big scenes. It instead gets painfully intimate, sharing these quiet little private moments that bear the honesty that can only exist between two people that truly understand each other.” (Read full review)

4.0         Rob San Miguel (Brun Philippines)

Dagitab is the closest Philippine cinema can get to a literary film and some of the lines in the film were quite profound. U.P. campus was photographed beautifully, and the iconic figures of literature professors were crystallized, both for their detriment and benefit.” (Read full review)

4.0         Manuel Pangaruy (Tagailog Special Presents)

“Maraming eksena rito na hindi ko pa nakikita sa ibang pelikula. ‘Yong iba, nakapa-casual ng execution pero maraming sinasabi at matatas ang undertone. Visually stunning din ito. Ang tahimk na eksena sa beach ay hindi ko makakalimutan, ang lumulutang na sparks sa huling eksena at marami pang iba. Hindi ko rin makakalimutan sina Eula at Nonie rito, pati na rin si Martin del Rosario.” (Read full review)

4.0         Nood.ph

“If you’re looking for a movie that will serve up everything  it’s trying to say in non-ambigious terms, you’re knocking on the wrong cinema glass door. While you probably won’t get lost in the grand scheme of things, there will be moments when you may wonder just what it was you were actually watching. But it’s worth the trip.” (Read full review)

3.5         J. Neil Garcia

“The film’s two ‘love stories’ are not evenly developed, and while the film’s concluding act sees the married professors’ individual problems becoming momentarily solved, the story of the boy’s (homo)sexual self-awakening is left frustratingly suspended (one must say, however, that both this boy and his love interest are interesting enough as characters; among other things they call to mind well-known urban legends in the writing workshop community–of prevaricating, attention-hungry, and head-bashing young poets, who hopefully do outgrow their brash and self-tormented posturings).” (Read full review)

3.5         Jason Jacobo (Young Critics Circle)

“The poetic affectations which entitle Dagitab to survey the scope of an academic romance drive its visual methodology to indulge in pyrotechnical literalities. The archaism of an apparition of light is affirmed through a fugue of fireflies on the one hand and contemporized in urban nightlife on the other. Notwithstanding the naïveté that underwrites the tempests beleaguering Eula Valdez and Nonie Buencamino as rehearsals of let’s say Sartre and de Beauvoir, or perhaps Rivera and Kahlo, the performers transcend an incipient parodic intent at the portrayal of a melancholic poet and a maniacal anthropologist, only because Valdez and Buencamino are far too astute to resort to understanding desire as puerile preternature, which is also contested by a queer intellection in Martin del Rosario, surprising as aesthete, if not the perpetual aspirant. Giancarlo Abrahan’s operatic direction is marred by Rommel Sales’s cinematography—often dazed before landscape (that shot of star-crossed love by the shore is an achievement) but ineffectual toward portrait (are we afforded our first gaze of the dazzled del Rosario?)—but the errant procedure somehow synesthetic to the travails of perfection is enough to recover a sentiment that cannot cast aspersions against impervious affection.”

3.5         Nicol Latayan (Tit for Tat)

“In Dagitab, the dynamics of a relationship was complexly portrayed by highlighting that some relationships probably require more of patience and acceptance and less of intelligence and romance. There is a certain poetic approach with how lines are written and thrown here, and I don’t think I have grasped them all yet after watching, but I’m smitten.” (Read full review)

3.5         Fred Hawson (ABS-CBN News)

“Being about writers, the highlight of this film is definitely the very poetic and witty use of words in its script. As audience, you savor every word as you hear them being uttered, and you’d like to have the screenplay in front of you so you can read it back over and over.” (Read full review)

3.5         John Tawasil (Present Confusion)

“What gives Dagitab its strengths lies in its acting. The two leads manage to pull off that vibe of “chemistry-but-not-quite-chemistry” that the film needs. Eula Valdez plays the spectrum from bored to assertive and in control. Nonie Buencamino fits the man consumed by his work, tied closely to a woman he clearly loved immensely.” (Read full review)

3.5         Don Jaucian (Philippine Star)

Dagitab is lovingly steeped into its literary bearings, taking its sweet time as it unveils the great perhaps that its characters constantly pursue; the resulting work a complicated but immersive look into heartbreaks and little tragedies that make up our own fractured remembrances.” (Read full review)

3.0         Emil Hofilena (Cinemil Movie Reviews)

“The artsiness confused me more than it affected me, and while I won’t blame the director for confusing me, I will put it on him for the fact that I wasn’t really able to get much of an emotional connection.” (Watch full review)

3.0         Mark Joseph de Leon (The Lifestyle Hub)

“Unlike the first half where the film navigated through subtle emotional conflicts in between the characters, it got to a curvy state and eventually got lost in the final stretch. There were moments when I thought the movie was about to end and I found it to be OK since the curiosity is gone and the mysteries were settled. But one more scene appeared, then another, and then three more. You ask ‘What are these conversations for?’ The film just resists to end!” (Read full review)

2.5         Richard Bolisay (Lilok Pelikula)

Dagitab is too stiff and careful, too absorbed in the idea that it’s fascinating, and too focused on its subject that it fails to see the whole from afar, like looking at the dark sky and noticing only the stars, not the constellation.” (Read full review)

2.5         Mario Bautista (Showbiz Portal)

“Those with artistic pretensions will surely enjoy it, what with it being unequivocally arty and even the lines mouthed by the characters are very literary. But lesser mortals with more mundane sensibilities like us who prefer no-frills storytelling will get so bored and alienated.” (Read full review)