With a rapid fire, completely unvarnished style that invites comparisons to the Dogme 95 movement to say nothing of the shaky cam style of Paul Greengrass, Filipino director Brillante Mendoza is very much a product of the digital age. Unfettered by the heavy camera crews required by shooting on film Mendoza is free to roam, to throw his camera into the midst of chaos and simply capture what happens around it. No mistake, Slingshot is a work of fiction but it is one so firmly rooted in the reality of poverty in Manila that it could easily be a documentary. But while Mendoza succeeds admirably in capturing the tone of his surroundings it’s hard to shake the feeling that Slingshot is, to a great degree, a missed opportunity.