Remington’s growing attraction to the city girl, Hannah. As his attraction and desire increases, the curse proportionately works on him via daydreams and images of confusion and distraction that pull his behavior into the world of bekemon, the most current patois of gay language, which used to be called sward-speak. At its current development of sophistication in vocabulary—what used to be recognizably a language of repressed neurotics inventing terms for emotional release, bekemon has become Esperanto—a new language that deserves punctilious translation into grammatically correct Cinemalaya English subtitles. It is probably meant as a joke by the producer-writers, but works against the comedy. Eugene Domingo has to explicate it when she utters, “I don’t understand it. But it is funny.” In the process, the humor is dissipated into awkwardness, and repartees are made lame, killing tempo and rhythm. Remington is drawn to speak and behave like a teenage boy gradually losing control over his maleness into queerness, climaxing in a funny fantasy love scene on a staircase with his best friend, Jigs (Kerbie Zamora). The two male lead characters, Martin Escudero and Kerbie Zamora are very good, because at this early stage in their careers, they’re fresh, unmannered, and still un-self-conscious! So they succeed in giving the impression that they’re not acting, just being themselves. Martin’s quick shifts from queer to manly is hilarious!
source: http://kyotoreview.org/book-review/review-zombadings-1-patayin-sa-shokot-si-remington/
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