Unfazed by what I read on social media, I set out to watch the latest Nora Aunor film, Mananambal, on Feb. 24. I paid my way to the theatre in the absence of a deputy card, curious about this new output of the superstar and National Artist for Film and Broadcast.

Mananambal is a bold attempt by Nora and her director, Adolfo Alix, Jr, to explore the nature and intricacies of Philippine folk medicine as it exists in the countryside. The choice of tackling such a premise and promise alone signifies artistic intent, an out of the box mental frame. For this alone, Aunor and Alix deserve credit for continuing to blaze the trail in telling stories that depict the lives of ordinary Filipinos. In the process, they expand our appreciation for pre-colonial Philippine lifestyle and culture.

Clearly, such a handle can easily be dismissed as uncommercial, yet Alix turns it around by modernizing the horrific tale, planting elements of social media and youthful adventurism that leads to the downfall of four young men from the city.

Such a compromise, by way of casting GMA boylets Jeric Gonzales, Kelvin Miranda, EA Guzman and Martin Escudero, lends the film a dash of sex appeal to jack up its commercial value. Bianca Umali projects just the right amount of sultriness in the wilderness and makes for an ethereal, acting presence.

Needless to say, Nora shows full control of her role as both the healer and the destroyer. Her scenes are often quiet, which befit her. They lend the film an air of authority (and wisdom) that comes with age.

Given a few excesses, such as scenes that repeat themselves (editable), Mananambal is a good film with a heart for art. Lyrical in cinematography, with subtle music for support, it is possibly one of director Alix’s better films.