MANILA, Philippines ? Are we all destine to meet our One True Love at some point in our lives? Tom Hanson (Joseph Gordon-Levitt), the male protagonist of director Marc Webb?s hip romantic drama, ?(500) Days of Summer,? certainly thinks so. Unfortunately, Summer Finn (Zooey Deschanel), the cynical other half of the movie?s romantic equation, seems to believe otherwise.

Now, here?s a tale that?s as whip-smart as it is bittersweet?without the schmaltz of cookie-cutter love stories: Webb?s film doesn?t look at romance as a life-changing experience whose complications can easily be examined?or explained?by the chronology of its history.

The movie?s premise is simple?boy meets girl, boy falls hard for girl, girl plays along, boy loses girl, etc.?but, Webb doesn?t tell his story in sequence. This is his way to introduce viewers to a unique perspective on the duo?s contrasting insights about love and commitment. And, true enough, demystifying the complexity of the relationship that develops between Tom and Summer doesn?t come easily for viewers.

Love at first sight

For Tom, it is love at first sight when he sees Summer in the conference room of the greeting-card company he works for?in fact, he?s convinced she?s the one for him. Question is: Is the feeling mutual? Summer is certainly flattered, but love isn?t something you can force on anybody.

The tricky situation gets even more complicated when the couple breaches the fine line between exhilarating love and friendship. When the commitment-weary woman finally pops Tom?s bubble, the love-struck guy realizes just how deeply he?s fallen!

Webb?s decision to tell his story in a nonlinear fashion is potentially chaotic. But, the filmmaker successfully pulls off the difficult feat by keeping the to-and-fro narrative jumps breezy and easy to follow. The production is further energized by astute editing, a well-paced tempo and the insightful performances of its two leads.

Gordon-Levitt turns in a heartbreaking performance even as he keeps his characterization simple and real. His emotional meltdown in the boardroom is just as riveting to watch as his life-saving epiphany in the final scene. He?s the Everyman who waits for fate to show him the ropes.

In contrast, the adoringly complex Deschanel represents the woman who creates her own destiny?until she realizes she?s not much different from Tom, after all!

Missed opportunities

In Joselito ?Jay? Altarejos? latest gender-bending drama, ?Ang Laro ng Buhay ni Juan,? destiny also delivers low blows to the dreams and big-city aspirations of 25-year-old Juan Reyes aka Erwin (Ray An Dulay). After three years of odd jobs and missed opportunities, the protagonist?s misadventures in the metropolis have left him barely hanging by a thread.

In gritty cinéma vérité fashion, the film follows Erwin on the day before he leaves the cruel urban jungle for good. He?s convinced there?s a better future waiting for him in his otherwise impoverished hometown in Masbate. Unsurprisingly, the fateful day turns out to be an emotional roller-coaster ride for Erwin as he exchanges pleasantries with his neighbors, then bids his lover, Noel, goodbye.

It?s also Erwin?s last day at Inner Sanctum, the seedy underground gay bar where he works as a live-sex performer. However, after his final show?and just as he?s about to leave the club?something happens that weakens his resolve to turn a new leaf.

Altarejos? latest gay-themed scorcher tackles risqué subject matter with sensitivity and uncompromising vision?but, like ?Lalaki sa Parola? and ?Lihim ni Antonio,? it is not for everyone. Fortunately, ?Laro? is a notch above the well-meaning but ultimately unsuccessful ?Little Man, Big Man? or the thematically featherweight ?Kambyo.?

For the most part, Dulay does well as Juan/Erwin, but holds back in some highly charged dramatic moments that require more urgency and commitment from him. The other notable portrayal is turned in by Richard Quan, who plays the sympathetic undercover agent in the finale?s good cop-bad cop scenario.

Commentary

Jay weaves a clear and briskly paced tale. He puts his storytelling dexterity and visual flair to good use as he subtly shifts from one social commentary to another. However, the needlessly protracted dance sequence could have used some trimming.

Moreover, the provocative scenes he conjures up onscreen won?t sit well with conservative viewers, but they do come with a cautionary message?and a warning: Scenes that depict violence or graphic sex are never a pretty sight.