Straight from the Visual Communications Filmfest's website, the synopsis of "Keka" clearly states that Francesca Jose's (Keka for short) boyfriend was murdered by five fraternity boys. Angered and in disarray, Keka channels her emotion in to a revengeful attempt to seek justice for the untimely death of her boyfriend. With that kind of set up, what else can viewers expect except dramatic dialogue, intense scenes, and "at-the-edge-of-your-seat" suspense? How about humor and dry sarcasm all mixed into the perfect recipe that is "Keka."

As part of the Los Angeles Visual Communications Film Festival, "Keka," a Filipino movie directed and written by 23-year-old Quart Henares was featured as part of the May 3, 2004 showing. The film stars Katya Santos, Wendell Ramos, Vhong Navarro, Jordan Herrera, Bobby Andrews, Ryan Eigenmann, Marky Lopez, Luis Alandy and TJ Trinidad. This low budget indie film was the product of Henares' imagination since his high school days, and grew to become a slasher spoof that binds the audience in humor. Not only has "Keka" been introduced to American audiences, but it has also been presented at other film festivals such as the Udine Far East Film Festival in Italy.

The truth is, the plot isn't all that original. Five years ago, members of the rival fraternity killed Keka's boyfriend, and all of them was let off the hook because of tactful string pulling and knowing the right people in the right places. Unable to get over the loss of her boyfriend, Keka decides to take up combat training and proceeds to kill each one of the frat members slowly. As she engages in her killing spree, it just so happens that Keka meets and begins dating a cop assigned to investigate the series of murders. The story is pretty straight forward, but presenting it on the silver screens gives it a whole different dimension of creativity and ingenuity.

Unlike traditional movies, Keka doesn't follow the usual "beginning-middle-ending" timeline, instead the movie opens with Keka strangling one of the frat members and moves on from there. Henares is able to create a thread and weaves in and out of the major plot while always returning to key sequences to link back all the important aspects of the movie together. The movie bounces between time, but audiences aren't left with the sensation of feeling lost. Instead the interesting sequence keeps the movie novel and adds to the uniqueness of the film.

Besides the timeline, the funny observations and side notes about daily life keeps the story moving along. From stereotypical male roles (nerds, movie stars, male models) to sappy '80 styled movies and their happy endings, "Keka" has audience members laughing out loud to the obvious exaggerations, but also has people chuckling to themselves with the less obvious comedy of break ups, pick up lines, and even the down right delivery of lines by the actors. If the parallels of the 80s musical dance number doesn't have audiences rolling, the nonchalant tone of voice Keka takes with her friend when discussing about the murders surely will.

While many movies cop out at then end and offer audiences some fluffed up ending, "Keka" keeps true to its form. The truth is, the futures of the characters are irrelevant, and Henares has no qualms about pointing that out. Sure, some audiences may wonder if Keka ever gets caught for her murderous deeds, or if she'll find love, but even with a slightly ambiguous ending, there's still a sense of closure and satisfaction. All that beings well ends well, and that's truly what "Keka" is. Henares is able to draw laughter and engagement from the audiences through his usage of parodies and unconventional stance on what could only be deemed as a grim subject, after all how many ways can you frame five murders? By doing so, Henares reminded moviegoers that even with the darkest of deeds, comedy could be found.

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