Chito Roño’s Etiquette for Mistresses is an upclose and personal look into the lives of mistresses, based on Julie Yap-Daza’s book of the same title. It’s an earnest examination of what goes through the minds and hearts of kept women as individuals bound by a set of etiquette rules.
To take us into an intimate study of mistresses, the film presents us with four women that are long-time friends due to their similar situation: the stiff, “perfect mistress” Georgia (Kris Aquino), the emotionally impulsive Chloe (Claudine Baretto), the ultra rich Charley (Cheena Crab), and the attorney (Iza Calzado). They are a mix of class, wealth, intellect, and intelligence, with plenty of years of mistress experience.
And here comes a first-time mistress, the very young and naïve Cebuana named Ina (Kim Chiu), who, along with us, will learn all the etiquette rules for mistresses through Georgia (one example: “As tempting as it seems, don't patronize the wife's beauty parlor, jewelry shop, dress shop). It’s a big struggle for Ina to adjust to the life of a kept woman—made more difficult by the influence of Chloe, the mistress who breaks all the etiquette rules.
The film is smart, as it effectively presents these women as real people; flawed like the rest of us, victims of their own weaknesses, and simply in love with the wrong man. By choosing the morally wrong life of a mistress, these women are clearly aware of the big sacrifices that go along with it, including the pain and loneliness of being essentially alone.
The film is sympathetic to the plight of both mistress and wife, and there is more than one scene that will pierce your heart. The film is neither preachy nor judgmental, giving mistresses (or mistresses-in-the-making) with two choices: stick with him, or leave him.
The movie has intelligent casting, with the most notable performances from Aquino, Barretto, and Chiu, who all brought out every emotional nuance their character demands. Aquino is refreshing here, displaying an impressive talent for her craft; a complete opposite of her loud, boisterous self, she transforms into her Georgia’s cold, stiff, and serious nature.
Chito Roño cleverly depicts the men as backdrops, almost invisible to us—yet enough to recognize A-listers Eddie Gutierrez, Tirso Cruz III, and Freddie Webb. Only Zoren Legaspi is frequently shown in full view.
The dialogue could have been a bit more polished, and the third act seems a little bit far-fetched, but the story’s message and the right ending overpower whatever minor flaws the film has.
Etiquette for Mistresses is a substantial film rarely seen in Pinoy mainstream movies. No, it is not first-class filmmaking, but it is well-paced, emotionally engaging, and has enough depth and compassion to make it a good movie. It triumphs for its effective portrait of human nature, and its sincere interest in educating men and women about a sad reality.
Opens September 30, 2015 in Philippine cinemas
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