Plot: What’s it about?
Katrina (Tina Ona Paukstelis) is a pregnant teen with few options, as she cannot afford to raise her child in a respectable atmosphere. She is unwed and as for the child’s father, he is not even in the picture in the least. So alone and left with no real places to turn, Katrina finds herself in the kind of situation women have nightmares about. Just when things seem to be hitting bottom, a man named Peter Null (Norman Moses) enters the young woman’s life. Null is the son of a very rich woman, but he is in danger of losing any potential inheritance. This is because in order to be in his mother’s will, he must provide an offspring of his own, a future heir to his own fortunes. If Katrina would pose as his wife, a wife with child no less, the door would open for him to collect on the vast riches his family has acquired. And in return for her service, Katrina would be taken care of and have no financial worries for the rest of her days. An offer like that seems too good to be true, especially at such a desperate hour in her life, but she has no choice. So she ventures with Peter to his family’s estate, where he meets his mother, his sister, and their Filipino maid. Peter warns her that his sister is a little insane, which strikes Katrina as odd. But when some secrets begin to spill out about the family, Katrina realizes she is in for more than she expected…
After a production that coasted to a close on fumes, Aswang became the first ever horror film screened at the Sundance Film Festival. The film sparked interest in audiences and the studios, which resulted in a distribution deal right on the spot. But the buyers retitled the movie and cut out some of the more shocking sequences. Even in this watered down version, some stores refused to stock the film and as such, it fell into the cracks. A loud fury had turned into a soft whisper and just like that, Aswang vanished from sight. But thanks to Mondo Macabro, Aswang has returned with fire in its eyes, in this first ever release of the unrated director’s cut. A separate edition sports the trimmed cut of the picture, but come on, no one wants to see that. Made in Wisconsin, this tale of Filipino vampires has ample gore, tons of campish charm, and some great tributes to other horror movies, all with that special land of cheese texture. The usual no budget horror flaws are present here, especially in terms of the local actors used, but this turns out to be a solid picture. If you consider what the filmmakers worked with, Aswang is almost a tiny little miracle at times. If you’re even a casual horror fan, you’ll want to make sure to give this one a spin. But make sure you nab the unrated director’s cut, as that is the only version of Aswang worth your time. I want to commend Mondo Macabro also, for giving this cult film such a solid treatment.
Video: How does it look?
Aswang is presented in 1.85:1 anamorphic widescreen. This movie might look like it was made back in the 70s, but this was a fairly recent production. The film was made in 1994, but shot with next to resources, which resulted in low end stock and the budget limitations caused other problems with the visuals. Not to mention the movie’s storied past, which included getting distribution right off the bat, only to be discarded soon afterwards. So while Aswang looks rough here, it is not this transfer that is to blame, but the source materials. The print looks quite good, with few instances of debris, though there is a softness throughout. The image here is also laden with grain, which is due to the 16MM stock used. I found colors and contrast to be dull and washed out in most scenes, but the elements are by no means unwatchable. So for what it is, a low rent 16MM production, Aswang looks acceptable in this presentation.
Audio: How does it sound?
As I’ve said a few times, this was a very low rent production, so even a new Dolby Digital 5.1 option is unable to overcome the material’s limitations. The elements have a thin texture, which is due to the production values involved. This kind of movie doesn’t have a lot of cash to spend on audio design, which results in a basic, sometimes lacking presentation. But the basic ingredients come through without much of a problem, though dialogue is sometimes on the soft side. This new mix allows the music and sound effects to pile in on the vocals at times too, which furthers limits the dialogue’s impact. This disc also includes a 2.0 stereo soundtrack, which offers a less impressive, but more stable experience.
Supplements: What are the extras?
A pair of audio commentary tracks can be found here, one with codirectors Wrye Martin and Barry Poltermann, the other with assorted cast members. The first track is loaded with good information on low budget horror films, as well as humorous stories from the set. I liked the second track more however, as it had a ton of great anecdotes and was just a great session, although both are well worth a listen. Different Than Hollywood is a half hour featurette, which features a wealth of worthwhile cast & crew interviews. This disc also includes some audition tapes, script readings on unfilmed scenes, a selection of rare stills & artwork, and the film’s fundraising trailer, which was used to drum up interest in the production.
