All of us have been a “fan” at some point in our lives. I believe it’s human nature to gravitate towards a person or a group that we feel embodies our hopes and aspirations of the ideal — whether it be in looks, ability, intellect, or action. But what happens when this admiration is pushed to the extremes? What happens when you treat someone who is all too human like a god? These questions on blind fanaticism and celebrity culture are deftly explored and transformed into a cautionary tale in Antonette Jadaone’s hit 2020 film, Fangirl.
The story revolves around Jane (Charlie Dizon), a high school girl who fawns over movie star Paulo Avelino (played by himself). She cuts class one day to catch Paulo’s mall tour for his latest movie with on-screen sweetheart Bea Alonzo. In a bid to get a closer look at her idol, Jane smuggles herself on the back of his truck and secretly tags along as he goes to a remote town outside the city. She eventually gets caught but manages to convince a less than thrilled Paulo to take her in temporarily with a promise that she would keep his secrets because she’s his number one fan. Trapped in an old crumbling mansion, the two spend an alcohol- and drug-fueled night that eventually results in Jane’s undoing.
This is a surprisingly dark turn from Antonette Jadaone, who is known more for her love team-led movies like That Thing Called Tadhana, Never Not Love You, and Alone/Together. While she is not shy from tackling mature issues in her previous works, Fan Girl simply stands out for foregoing the hopeful note that always tinge her oeuvre and sticking instead with something more bleak, sharp-edged, and uncomfortably aware.
Helping Jadaone achieve her film’s vision is Charlie Dizon’s superb acting. There is simply no question about her best actress win at last year’s MMFF. She portrays Jane with a vulnerability and youthful verve that transcends the screen and makes it hard to look away, even when the proverbial shit starts to hit the fan.
Paulo Avelino also deserves credit for playing a less flattering version of himself. However, his “bad boy” persona here comes off as a bit cartoonish, especially with the cigarettes, tattoos, long hair, and constant cussing. This caricatured approach sometimes takes away from the menace that he is supposed to exude.
Fan Girl isn’t shy with the message it carries. From the start, it goes all out in dissecting the alarming diseases that have insidiously infected our nation — our propensity for hero/celebrity worship and our society’s deeply ingrained misogyny. Jane’s connection to the devout followers, who blindly venerate their idols despite knowing their horrible truths, is made explicit — in the same way the inspiration for Paulo’s toxic masculinity is also pretty obvious. It’s as if the movie is holding a mirror to our faces and forces us to confront that ugly side of ourselves that we refuse to acknowledge.
But while it is sharp in its critique of fans and their intoxication with fantasy, it’s not without empathy. We can see this in one of its most heartrending scenes when Jane pleads to Paulo to let her stay another day with him. She then tearfully admits of her difficult life at home with her overbearing stepfather and her mother who puts up with all his violence. Thus, we find out that her adoration of Paulo is an escape from her personal woes.
Many see the movie’s end as Jane breaking free from her obsession and finally rebelling against the system that has allowed men like Paulo and her stepfather to flourish. While I agree with the first sentiment, I don’t think the second is necessarily true. In fact, I think it is the complete opposite. For me, it shows that there is no escape for Jane when the only people she can call for help are the same people who serve and protect the broken system.
Despite the grim outlook, Fan Girl is a must-watch for its unflinching honesty and bravery in telling the story of our times.
