In writer-director Che Espiritu's debut feature “Pan de Salawal,” a street urchin wondrously heals the sick by inflicting physical pain.

Aguy (Miel Espinosa) healed a barber's hand tremors, made a paraplegic walk again, and cured a man’s cancerous tumor, among others. But the unwilling patients have to endure first the punches, kicks, and slaps by Aguy before they are restored to optimal health.

The same can also be said about the film. One has to go through the slow, uneventful first half before “Pan de Salawal” unravels its charm and magic.

Alongside Aguy is Sal (Bodjie Pascua), an ailing man who is about to give up on life when he chances upon the wandering girl. With the two eventually forming a bond, here comes a string of events par for the course. Aguy cured all the afflicted in the small community near the Manila Railroad, except for Sal. It left her puzzled.

It's easy to fault the film on how it meanders through flimsy subplots and blatant sentimentality.

But when some of its scenes works, “Pan de Salawal” works remarkably and merits kudos. It doesn't hurt that Aguy, also a Bisaya word for "ouch," is played by the adorable and charming Espinosa.

There is also so much to commend on Espiritu's confident and dedicated direction, fully aware of the material's schmaltz and never shying away from it and even playing it as one of the film's strength.

With its weaknesses, it might be hard to completely love the film. But with its abundant charm, it is also hard to hate “Pan de Salawal.”