Two grandmothers, one has lost her grandson, and the other is the murderer’s grandmother. The former must arrange for her grandson’s funeral costs, and the latter must provide the bail. Director Brillante Mendoza does not talk about the two grandmothers’ sorrows. He talks of the reality they must face. The murdered Arnold’s grandmother must buy a coffin, collect the insurance from Arnold’s employer, and file his death certificate. The murderer Mateo’s grandmother must work out in the streets to make money. The affection they have towards their grandsons is secondary. These mature women make calm and cool judgement calls and act accordingly. Why? Because that’s the wisest course of action for their grandsons. Thus, Brillante Mendoza’s realism is amazing, not because of his style, but because of his creative outlook of the hard facts. His realism has once again evolved in [Lola].