Cinemalaya 2024’s opening film ‘The Gospel of the Beast’ shows how human existence is inherently complex

The film’s ingenious concept began when Dayoc returned to Zamboanga and casually met with his friends and relatives. “One afternoon, much to my surprise, someone close to my family shared his deep, dark secret,” the filmmaker says. Apparently, the man used to be a hired vigilante group member in their hometown. Similarly, his ‘journey to beasthood’ began when he had an unfortunate altercation with his high school classmate. Dayoc’s friend was able to run away and be trapped in the world of the syndicate. The other guy, meanwhile, didn’t see the light of day.

“I was startled to hear of this,” admits Dayoc. “I have known this man all my life as someone caring and loving. I never would have thought that he had experienced such things.”

The filmmaker and his friend never spoke about it again, but some thoughts remained etched in his mind. “Why did he suddenly entrust his story to me? But one thing for sure is that his life story is as important as those of the iconic people we know in books or TV. His story inspired me to write and develop The Gospel of the Beast, a coming-of-age film about a young boy’s journey into beasthood.”

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Magpusao’s portrayal is a harmonious blend of innocence and grit. Mateo wants to prove he can live earnestly, but there is also a rising desire in him to prove his worth despite the dark nature of his job. His solitude becomes briefly broken when, finally, he finds a friend in Gudo as well as in the stray dog he adopted. In these moments—his loving conversations with his siblings, the wonder in his eyes when he sees goldfish and birds—his humanity becomes grounded in the film’s frame. What lies beyond—his thoughts, soliloquy, meaningful stares and quiet agony—meanwhile pulsates as the film progresses.

“Magpusao stands out as one of the most talented and professional actors I’ve had the pleasure to collaborate with, despite his relatively limited experience in the field,” Dayoc comments. The director remarked how Magpusao handled the complex role with remarkable ease and growth, which showcases the fruits of his mentorship under award-winning actor and fellow cast member Ronnie Lazaro.

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“One unforgettable moment was during a scene by the river, where Jansen, speaking to his co-actor Jofranz Ambubuyog via his lapel mic, encouraged everyone to give their best to aid the production,” Dayoc recalls. “He suggested minimising retakes to help compensate for slight delays in our shooting schedule due to unforeseen challenges. The team truly appreciated having such a considerate and committed actor who, despite his youth, displayed genuine concern for the film and its progress.”

In working with Magpusao this time as the film’s director, Dayoc attested to the young actor’s growth since their first project, Arden Rod Condez’s John Denver Trending (2019).

“Jansen’s maturity and compassion enrich his portrayal of Mateo, bringing a palpable authenticity and emotional depth to the character,” Dayoc says. “His performance resonates not just with technical skill but with heartfelt emotion, making Mateo truly come alive on screen.”

Dayoc effectively utilises visual storytelling as a means to express the depth of his philosophical stand. Considered one of the leading figures in Philippine regional cinema, his distinguished roster of films includes Women of the Weeping River, a 2016 film that tackles rido, a type of conflict characterised by sporadic outbursts of retaliatory violence between families and kinship groups, as well as between communities, that is one of many factors in the ensuing web of violence in Mindanao. His documentary feature on Mindanao, titled The Crescent Rising, won at the 2016 Busan International Film Festival, among many other accolades. His debut feature, Halaw (Ways of the Sea), in 2011 achieved success at the 2011 Berlinale. As a producer, he has worked in John Denver Trending, Sonny Calvento’s short films Excuse Me, Miss, Miss, Miss, and Primetime Mother, which also participated in this year’s Cinemalaya.

Prior to filmmaking and producing, Dayoc was exposed to visual arts, which was rooted in his upbringing in Zamboanga, a rich and vibrant cultural melting pot. He has always had a penchant for painting scenes from his surroundings, vividly capturing landscapes, animals, and the beauty of nature.

“As a philosophy graduate, I strive to explore the human condition and existential themes through subtle, evocative visuals that reflect emotional and psychological states,” Dayoc says.

In The Gospel of the Beast, he collaborated with cinematographer Rommel Salas and an important creative choice they made was to use close-up shots to emphasise the main character’s profound yet subtle facial expressions.

“This decision, which centres on Jansen’s portrayal of Mateo, was a calculated risk aimed at visually highlighting the character’s inner depth as he gradually transforms into his beasthood,” Dayoc explains.

The film, set in Western Visayas, intentionally avoided specificity in referring to any actual place. It is rather a reflection of the country’s social and political state in a microcosm. The result is a textured expression of the location—from nature’s mystical beauty to the sin city’s dark corners and alleys. 

In working with co-writer Jeko Aguado, Dayoc made a conscious effort to focus on the impact of violence and the concept of despair on Mateo’s character. This includes juxtaposing his early work as a matadero with moments of standing in as his family’s breadwinner, among many other contrasts.

“As writers, we believe that we can provide deeper insights by focusing on the emotional and psychological narrative of the character, with violence serving as a supplementary and external element that envelops Mateo’s daily struggle to retain his humanity,” Dayoc says.

Opting for a poetic approach to reveal layers and perspectives beyond the images on screen, Dayoc strongly believes in the multidimensional nature of human narratives.

“Human existence is inherently complex, and this complexity is magnified when addressing themes of violence and despair. I intend to provide a deeper context and provoke conversation about Mateo’s existence and journey, not just through the narrative, story and dialogue, but through the subtleties of visual representation,” Dayoc shares.

Undoubtedly, The Gospel of the Beast, is a cinematic journey into the heart of the country’s turbulent narrative. “It is a visual allegory that confronts the profound social and political inequalities and injustice that have defined its history, exploring the depths of human nature and its capacity for both darkness and light,” Dayoc describes.

The fact that violence is predominant in our society is a hard pill of truth to swallow for most Filipinos who do not experience it firsthand, inspires Dayoc to highlight these stories in cinema and engage people into discourse. 

“It saddens me that violence is becoming accepted human behaviour, threatening to ruin the just and compassionate society for which our ancestors sacrificed. It is frightening that some Filipinos praise such brutal crimes as justified standards,” Dayoc says. “By suppressing the current social reality, we inadvertently normalise acts of violence. Instead of denying it, it would be best to acknowledge and recognise that this is what is happening now. By doing so, we may even shed light on why such a culture of violence persists and why it is embraced.”

Dayoc’s perspective on the matter is not far from reality—those with power and outlandish financial resources want to maintain their status. Thus, they put innocent lives at their disposal. “They use the vulnerability of the poor and the weak as their gambit for this orchestrated ‘Game of the Generals’,” he says. “I believe that the journey of Mateo is everyone’s journey, regardless of age, culture, or social background. Violence is a universal truth shared by every human in history,” he adds.

The filmmaker reveals that his work’s three acts endeavour to dissect the anatomy of man’s evolution into a beast. “Act 1—Man isn’t aware that he is in a state of despair; Act 2—Man is aware that he is in a state of despair but doesn’t know how to get out of it; and Act 3—Man has no escape and is left to embrace despair to experience freedom,” Dayoc says.

What makes The Gospel of the Beast earn such distinctions and reviews in Ho Chi Minh, Tokyo, and Bali is the fact that it universally resonates. “In a world that continues to grapple with various forms of violence, including war, domestic abuse, modern-day slavery, and other affronts to human dignity, the story speaks to the broader human experience—the struggle for justice and enduring hope,” Dayoc says.

Using allegory and storytelling, Dayoc strives to inspire empathy, provoke thought, and ignite conversations that transcend borders and boundaries with The Gospel of the Beast.

“It was incredibly humbling to witness how, despite being a distinctly Filipino story, the film resonated with audiences on both creative and entertaining levels,” Dayoc says. “What I find particularly compelling is when the audience in international film festivals ask profound questions not just about the film and the Philippines, but about violence in general. Violence is a universal truth that transcends geographic and cultural boundaries, and the film addresses this universal reality of human violence and despair. The more questions that are raised, the more it deepens my realisation of the need for ongoing discussions about violence in cinema.”

The Gospel of the Beast opens with a blood-filled scene of a dead pig in a slaughterhouse that might either turn one’s stomach upside down or captivate one’s attention to the grim reality of our existence. Yet it escalates to a beautiful narrative where violence becomes unnoticed, unnerving, and unhinged.

“It was truly validating to see our work appreciated both for its craft and its purpose. The real award lies in recognising the hard work and dedication of the cast and crew, which has led to the film receiving positive praise and recognition. I feel blessed to have had such a great team behind the making of this film,” Dayoc concludes.

The Gospel of the Beast is an entry to the full-length feature film section of the Sinag Maynila 2024 and will be screened in theatres from September 4 to 8.

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