The most immediate sensation conjured by Haplos (Mirick Films International, 1982) is that of time passing. Director Antonio Jose Perez's decision to shoot in a boxy 1.33:1 aspect ratio, enhances the film’s dreamlike tone. Haplos asks its viewers to experience and ponder rather than bouncing to beats that they're used to, while challenging and asking its audience to explore the space, mood and story being told. It wants you to feel rather than expect to be entertained or enlightened. For some, that will be too big a task, especially as the film's scant narrative ponders huge themes of fate, legacy and relationships rather than actually answering them. Perez's presence looms large, becoming more decisive as Haplos reaches the hour mark. Before then, he strikes up a particularly potent symmetry with Auring (Rio Locsin), using minimal movement or dialogue to create striking, resting images and allowing her the time to convey, something that she does in a patient but affecting manner. Then, with half an hour left, Perez grabs a hold of the film and whiplashes it in a variety of directions that are, in the moment, perplexing. So much so that by the film's conclusion you know that you've felt something. You won't actually be able to fully explain what you experienced, but it definitely stays with you.
There's really no discernible difference (that I could see, anyway) between the DVD and this high definition release. It's obvious that the transfer is darker with a much more clearly apparent grain field, but I now tend to think that the previous DVD may have some brightness boosting applied, since I'm considerably more pleased by the overall look of the palette on this new release, especially with regard to flesh tones. Those who have never seen Haplos in theaters or home video may be surprised at the texture that is clearly on display and while there's occasional chunkiness, compression regimen handles the frequently heavy grain rather well. There's a noticeable uptick in clarity in the most brightly lit outdoor sequences, notably some of the daytime scenes. Restoration efforts have delivered elements with no discernible damage. There are no signs of degraining and artificial sharpening. Haplos features a fine sounding 2.0 stereo track. Dialogue and effects are rendered cleanly and clearly and the wonderfully atmospheric score by Jun Latonio sounds excellent, if just a trifle bright at times. Fidelity and dynamic range are fairly wide, especially when considering some of the more hyperbolic moments. While Perez’s actual method of delivery may not be scary, Haplos is sure to haunt those who open themselves up to the experience.