Refreshing and Riveting: Ulan clawed in the hearts of its viewers with its untainted storytelling of our Filipino culture and traditions that goes far beyond romantic by encapsulating different forms of love and losses.
With all the saturation and thirst for anew, the Filipino cinema sprinkled on the withering interest of the youth to bring back their faith to our movies by showcasing a mythical exploration in our Filipino superstitions and obscure beliefs. It played along with our emotional mechanisms enough to elicit mixed emotions from nostalgia, reminiscence, and insights by pulling off different ironies and paradoxes of life, particularly as a Filipino.
The movie, with its notch cinematography and OPM musical scores, glided slow and steady with everything – its character development and plot twists – as if it’s careful on being clear to what it wants to say from the start to the end; the movie doesn’t want you to miss anything, and at the same time want you to be attuned and related to it. This is evident with how the protagonist (Nadine Lustre) portrayed a typical Filipina back in the days: hopeless romantic, in love with ideas, and hardworkingly complacent.
Ulan was able to successfully tie the knot from the beginning to end with its symbolical messages remaining intact that were revealed one by one as the story unfolds.
Ulan taught us that what’s typical and common, and at the same time that this “averageness” is not-so-average; that they were, in fact, the starting point where everything could go and be different; that something unique can come out from something so simple.