From Odyssey Flores’ lush black-and-white cinematography to Timi Dominguez’s gothic-like interpretation of its setting, The Fisher plays out like a dark fairy tale, a fable that gently finds its footing in the genre of a quiet, dreadful psychological horror. You’re not quite sure what is real and what is imagined; whether this unnamed island town, cut off from any semblance of modernity (be it cellphones or even government reach), is real or purely symbolic. Yet, it serves a central character in this dark tale, culminating in surprising political imagery at its finale.
Directed and co-written by Paul Soriano with Anton C. Santamaria, The Fisher follows Pedro (Mon Confiado), who has isolated his family – his wife Delma (Mercedes Cabral) and his adoptive daughter Simone (Heaven Paralejo) from the rest of the town as he opts not to use dynamite fishing. But the seas have gone barren and everyone is suffering. The town is held in thrall by its leader and healer, Manay (Eula Valdez), who not only permits dynamite fishing but also enforces the old beliefs and traditions, including the myth of the golden fish and the black demon, where the former grants a bountiful catch while the latter brings a plague upon the town.
Amidst all of this, Pedro finds an unconscious man caught in his fishing net and brings him home. His wife and daughter call him Hai (Enchong Dee), whose strange ways have a bewitching effect on Pedro and his family.
From the get-go, the film’s politics are already in full view: the stark poverty of the village and its detachment from the national government, the destructive use of illegal fishing methods, that is destroying the oceans, the adherence to old beliefs that resemble an almost cult-like spirituality, and the Chinese symbol and writing on the back of Hai’s neck. The film never dwells too heavily on these, choosing instead to focus more on Pedro’s descent into a sort of madness as Hai’s presence threatens his family’s security and resurfaces the grief over his dead son, Andro (Tommy Alejandrino).
Confiado is captivating as the lone man carrying the burden of rationality in a town besieged by desperation and folklore. But he himself is breaking under the weight of his own loss. Hai’s presence threatens to take away his beautiful daughter and even turns his wife against him. Even the most rational man has a breaking point. And this is wonderfully conveyed by editor Mark Victor’s constant cutaways to the waves crashing against the shore. Wonderful job by Mark Victor.
It is Enchong Dee, though, who proves to be a revelation. Because Hai is unable to speak, we aren’t even sure at times if he understands what Simone or Pedro is saying. He is alien and otherworldly, and his presence gives credence to the fairy-tale nature of the film’s tone. Unbothered by Pedro’s outbursts and fits of anger, he seems detached from the material world. He’s like an innocent, constantly smiling figure whose quiet demeanor adds to the dread of his presence. But when he suddenly reveals a keen knack for swimming the depths of the ocean and securing massive catches, his standing in Pedro’s family changes completely.
The simplicity of the film works in its favour as the setting, striking visuals, and grounded performances elevate the story into something you can really sink your teeth into. It continually teeters on the edge of the strange, oftentimes crossing over before snapping back to a grounded reality, which makes it engaging to watch. You’re completely hooked until the film’s dramatic finale, where a sudden twist reveals the full extent of Soriano’s political message. It’s a vague one yet undeniably pointed, and Flores’ cinematography comes into full bloom. The Fisher is an unsettling, deeply disturbing film and I love it for it.
My Rating: 4 Stars
Will Hai bring a bountiful catch or a dark curse upon Pedro’s family? Experience powerful performances from Mon Confiado and Enchong Dee in this haunting fable! Click here to check The Fisher showtimes near you.
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