It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

It is as if a habit that if not most, some viewers, by observation, apparently put short films low on the totem pole when being rolled concurrently with the feature films on the big screen.The Cinefilipino 2013 short film finalist Mabuhay ang Pilipinas, directed by Bor Ocampo has left tracks of leitmotif for the viewers to ruminate about, that is, wherein the moment when one realizes what the film tries to portray, the only thing that is left to say is, "*insert a big time compliment here*." The film is indeed a masterpiece that can only be materialized from a critical mind. The concept, perhaps, mirrors the director's love for the country, which sadly, languishes little by little. Within the story manifests the bitter reality that is very relevant to most of the Filipinos today.A film that is beyond superficiality and challenges the kitsches is what I consider deserving to be labelled as ''movie'' that is worth watching and worth recommending regardless of its total running time. As long as it grasps a meaning that extends beyond what the eyes meet, that film is indeed, an excellent art.Looking at it on the surface would seem that the entire story revolves around the parting romance of the couple, specifically, when the man's departure to Australia comes near. Maika, whose character was portrayed by Japo Parcero, is being tacitly forlorn about the leaving of her partner, whose character was played by Bor Ocampo himself, for she knows that there is no turning back for him. She then decides to go back to the spot where they used to hang out, perhaps, to refresh the good memories of their sweet past. Eventually, the man left her for what he thought of a 'good life' abroad.Besides of this conspicuous romance, there are mordant symbolism to decipher here. Maika is the kind of a hopeless romantic woman. She longs for love and hopes that she won't be left alone. She would constantly try to refresh the good memories despite that she couldn't do anything else to make her lover stay. She herself is the depiction of the Philippines who would always be left broken by the Filipinos.The other main character is the unnamed lover guy, who by which is Maika's lover, represents the metaphor of the Filipinos as a whole. He technically fooled Maika for having her believed to a promise he cannot keep.Detaching from the literality of the film, it has something to do between the relationship of the Filipinos and their mother country.Remembering the part where he swore in front of the camera while wearing a full-face of sincerity, he spoke the words that Maika believed to be true. In the parallel world of reality, Filipinos make a pact about never leaving the country, but eventually they tend to betray that oath in exchange for the greener pasture they imagine abroad.This goes the same in reality: the case of the Overseas Filipino Workers or OFWs. To go abroad and be far away from their families is, perhaps, the only option they got. The high hopes of having a better life overseas further presses the stigma that life here in the Philippines is directionless.There was a shot right before the rolling of the credits that would certainly catch the viewer's attention: The signage of Philippine's tourism slogan situated at the airport, It's more fun in the Philippines. The slogan could be an unspoken message that there is a tiny glint of hope in this country. However, that tiny bit of hope seems to flutter away with the wind as the plane departs. The signage is left ignored many times as much as many Filipinos fly away from their mainland country.The short film ends with a comedic epilogue. It perfectly portrays the 'expectation versus the reality; scenario of an OFW. The same man holds his camera and seems to be catching his breath while making his v-log, "As you can see, I'm just relaxing. Enjoying life. This is the life..." Eventually, an Australian man approaches, and the main character immediately puts down the camera as they begin hoisting up the huge couch.This, I think, signifies the struggle of the OFWs. That people may think they achieve the 'good life' but it all goes down to the truth that it is not as easy as it seems.The title, Mabuhay Ang Pilipinas (Long Live Philippines), is bluntly satirical. It may seem to be a positive point but it actually connotes the opposite. It speaks about the irony of the entire film. To get this straight, consider this question: Does the salutation 'Long Live Philippines' still apply today despite of its people constantly betraying her?What makes this film a real good thing is that it is very Pinoy. The director was able to connect with the audience, which marks the big break of Director Bor Ocampo. He was able to relate with the people as he himself experienced working abroad when he studied in Australia three years ago.