Whenever Reyes decides to tackle the issues of the impoverished, such as in “Live Show” (2000), which is about men and women forced into performing live sex shows for survival, the perspective is evidently middle class, with depictions of oppression and struggle shrouded with pity, regret, shame and seriousness that only a repentant member of the ruling class can offer. “Kung Ako na Lang Sana” (2003), on the other hand, tells the atypical love story of Aga Muhlach’s financially stable playboy and Sharon Cuneta’s hardworking entrepreneur, documenting along the way the worries and problems of a privileged generation. Instead of depicting the cross-social class love story with fairy tale allure, Reyes injects realistic observations as to the very apparent lines that have been punctured because of the two lovers’ affectations. “May Minamahal” (1993) has affluent Aga Muhlach falling in love with Aiko Melendez, the lowly daughter of a jeepney driver. His best romances are the ones draped with class issues. His astute interest in the clear lines that divide Philippine society into various socio-economic classes are often depicted through satire, as in “Mga Mumunting Lihim” (Those Little Secrets, 2012), where the friendship of four middle class women is abruptly tested by deceit, envy and various fleeting plights, or in “Kasal, Kasali, Kasalo” (2006) and its sequel “Sakal, Sakali, Saklolo” (2007), where the concerns of the marital life of a middle class couple are mined for comedy. MANILA, Philippines – Jose Javier Reyes, for all his faults as a director, has earned his renown for one singular artistic characteristic, which is his ability to enshroud his works with a distinctly middle-class perspective.

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