Adolfo Alix, wire frame opens with Nora (Jodi STA. Maria), his daughter to a modest house ironing school uniform. The House, perhaps some broad square metres, includes a few belongings, some furniture, ironing, horse ornaments good markets, hung on the wall, a camera of which Alix becomes concentrated on because that it showcases the ideal House. Nora completes his fatigues and thanked the owner for his kindness. No, this is not Nora House. She lives elsewhere. Alix camera follows Nora it crosses a large cement gap that separates the House of his neighbor with the parking lot of the container huge trucks. Blocks a hammock where daughter Nora sleeps under a parked truck chassis. Nora husband sleeps on the cold cement. This is Nora home, or at least until readers off truck one of its many destinations. She turns her daughter, she bathes, assistance in his uniform and finally it sends to the school. It seems that the events of the morning were refined in the routine. Shockingly, normality has inevitably crept in what is clearly a situation which cannot be described as unjust and absurd.With his skilfully assembled visual cues, chassis immediately notice the seriousness of his oppressive environment forces. Alix separates the shreds houses in shanty towns, known by dozens of films which are located in the it and further and deeper slides in shortages, focusing primarily on individuals who have made houses and trying to educate the families of truck parked. Alix overemphasizes the hardness of his chosen setting, view its parameter in monochrome, effectively remove any semblance of colour batch sorry its characters and the location than where they live. The images that alix created with the help of Gabriel Bagnas, Director of photography are surprisingly austere, more stylized and carefully framed portraits of extreme poverty in the midst of this supposedly represents an economy of lively commerce than anything else. Chassis, if known only as a series of images in motion, feels like an album of black and white Manila postcards in his deplorable disadvantaged and most desperate. Alix shows often face of Nora, suspiciously calm despite its troubling circumstances, close-up. It is as if the commands Nora irony even as it does in its environment. After all, the two subjects, Nora and Manila, represented here by its port area, are beautiful even tarnish. Frequent large Alix invites viewers to observe Nora to become intimate with it and to understand the absence of intense emotion in her face that she goes about her daily routine that is rampant with oppression, men who pay a derisory sum for a quickie from her husband who cannot provide for her and her shelter decent girl and society that promotes its disastrous situation. She has been calloused to the point to be private to really feel. It expresses only the emotions authentic, joy, sadness and later in anger, with events concerning its daughter.Alix operates two medium and topic, creating a movie that instantly extracted you by the strength of its premises and the presence of Santa Maria. However, the film attempts to go beyond compliance with the human condition serious participant more enveloping these observations in a history that attempts to push the speech of the gender equality. Alix mainly painted a dark community where the dominant male is unable to provide, by forcing stronger women become prostitutes herself for mere survival. Questionable conclusion of the film depicts the revolt Nora towards his gravely unjust situation closer the film more close to being too didactic otherwise entirely academic, unworthy ultimately emotions already invested on the fate of the protagonist female film. Thus, chassis persisted as a powerful cinema verite element until it was drastic that turning taken wrong final minute inexplicable transmitting an insignificant return shock and passed on the State of the Patriarchate in the poorest areas of the Philippines.(Cross-published in the teachings of the school of inattention.)
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