Patay Gutom Movie Review: A Creative Story Between Life and the Afterlife

Alright so the movie, Patay Gutom is the first film we watched for this year’s Puregold CinePanalo Film Festival, and it immediately reminded me why I enjoy festivals like this. They give Filipino filmmakers the room to take creative risks, experiment with form, and tell stories that may not always fit neatly into the usual commercial mold. Directed by Carl Joseph E. Papa and Ian Pangilinan, Patay Gutom stars Khalil Ramos as Arturo “Art” Aquino, a lonely ghost, and Ian Pangilinan as Tristan, a grumpy and withdrawn delivery rider. The cast also includes Agot Isidro as Yolly and Cris Villanueva as Ruel. The film runs for approximately 1 hour and 45 minutes. I wasnt able to watch the trailer before entering the cinema so it gives me more curiosity.

The premise is immediately intriguing. Tristan accidentally eats a food offering meant for Art, a ghost who has been lingering between life and death. That seemingly simple mistake opens Tristan’s third eye, allowing him to see Art. From there, the two become connected as they navigate family secrets, grief, unresolved pain, and an unexpected relationship that exists somewhere between the living and the dead.

I love the intention behind Patay Gutom. At its heart, it attempts to connect two different stories of closure and pain, bringing together two people who are dealing with their own unfinished business. There is a small disconnect for me, particularly with the film’s rotoscoping. While I appreciate the creative decision and understand how it helps establish the separation between Art’s world and Tristan’s, I sometimes felt that the animation took away some of the subtlety of Khalil Ramos‘ facial expressions. And that is difficult because Khalil is an actor whose face can communicate so much.Still, I don’t want that criticism to overshadow how much I appreciate the concept. Rotoscoping is a creative risk, and I like that Direk Carl took that risk. It gives Patay Gutom a distinct visual identity and makes the film feel different from the usual Filipino supernatural romance.

One thing I particularly enjoyed is that Patay Gutom doesn’t completely surrender itself to romance. Yes, the relationship between Art and Tristan is an important part of the story, but the film allows its other narrative threads to breathe. Instead of making the romance the only thing that matters, the film gives space to family, grief, memory, and closure. I also like how the relationship between Yolly and Tristan doesn’t feel forced. Their dynamic develops naturally, and there is a certain fluidity to it that makes their scenes feel more believable. It doesn’t feel like the movie is desperately trying to manufacture an emotional moment. Instead, their relationship is allowed to exist and evolve within the larger story.

Her dramatic performance gives the film an emotional grounding that works particularly well against its supernatural and animated elements. Whenever she is on screen, there is a sense of history and emotional weight behind the character. I like how she doesn’t have to overplay the drama. There is restraint in her performance, and that restraint makes the emotional moments more effective. Agot has the ability to make even a simple exchange feel loaded with meaning, and Patay Gutom gives her enough material to work with.

Another thing I appreciated is how the film approaches the afterlife. Rather than making it heavily religious, Patay Gutom treats the afterlife in a more imaginative and accessible way. It feels less concerned with explaining the spiritual rules of existence and more interested in what happens to people who are left with unfinished emotions. My Mom serves food every All Souls Day, and this tradition solidifies our belief that the afterlife is here, can be connected.

That works for me.The film’s afterlife becomes less about religion and more about grief, memory, connection and letting go. It gives the supernatural elements room to function as part of the emotional storytelling rather than simply serving as horror mechanics. And because Art is presented through animation while Tristan remains in the live-action world, the visual distinction also reinforces the idea that these two characters occupy different dimensions.

Seeing Khalil Ramos and Ian Pangilinan together is also one of the film’s interesting draws. Both actors have strong associations with Filipino queer cinema, coming from different moments in its evolution. Khalil previously starred in 2 Cool 2 Be 4gotten, while Ian became widely recognized through Gaya sa Pelikula. Patay Gutom brings them together in a story that literally crosses the boundary between life and death. What makes the pairing interesting is that the film isn’t simply using their established screen identities. It puts them into a completely different supernatural setup and surrounds them with questions about grief, family and unfinished relationships.

For Ian, the film is also particularly significant because it marks his feature directorial debut, co-directing with Carl Joseph E. Papa.

One unexpected thing I took away from Patay Gutom? I now want to try that Sans Rival from Burger Machine. There is something amusing about how food becomes so integral to the film. The title itself points directly toward hunger, but food here is more than something characters consume. It becomes connected to memory, affection, tradition and even the supernatural circumstances that bring the characters together.

So yes, after watching the movie, I suddenly found myself thinking about Burger Machine. Cinema works in mysterious ways.

For me, Patay Gutom is exactly the kind of film I want to encounter at a festival—a Filipino story willing to experiment with its form while exploring love, grief, family and the complicated process of finding closure. So if you’re planning to experience this year’s CinePanalo, make time to watch the films while the festival runs until October 4. There is something special about watching Filipino filmmakers take creative chances on the big screen, and Patay Gutom is certainly one of those films.