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The World in the Eyes of Mike De Leon

A recent study conducted by Michelle A. Pautz, a political science professor at the University of Dayton in the state of Ohio in the United States, proposes that films serve as a strong influencer. Dr. Pautz believes young viewers may be especially open to the influence of movies. She states that “Younger people, particularly teens, are much more likely to be impacted than older adults because they are still developing and shaping their worldviews,” Film is arguably the most accessible form of art to Americans. Watching a movie occupies our senses more than any other form of art, particularly when we experience it at our local Cineplex. Regardless of its content, film has the power to shape perceptions of moviegoers on a range of subjects from love and marriage to the work of government. We can assume that people tend to gravitate more towards film than any other artform is because it can serve as somewhat of an escape to its viewers.

 Pop culture is a marriage between culture, art, and media. Though what we can notice in pop culture is that a huge sum of it is largely influenced by film. The cultural impact of films are significantly seen in our lives, from George Lucas’ worldwide phenomenon, Star Wars, to the quotable swoon-worthy quotes of Leonardo DiCaprio in James Cameron’s Titanic. Visibly, films play a pivotal role in our society, heavily affecting the way we think, the way we see and the way we perceive the world around us. In the digital age we live in currently, films are practically universal. Jumping from bulky television sets, to sleek flatscreens, and to the comfort of your phone screen, films can be accessed with a swipe and a tap of your finger. With streaming platforms like Netflix and Amazon Prime, that offer film libraries in a single app, which just goes to show how available film is even to the average Joe. 

 Film is an artform that is ever evolving, as film is juxtaposed with today’s scientific and technological advancements. Given that as technology paves the way with newer more cutting edge devices, software and etc, this enables films to be better, smarter and  more innovative. Although films are not built around such external factors but rather, it is built around the artists behind it, the storytellers and the movers that come up with what you see on screen. Like an artist to a canvass, a director is the heartbeat of the film. Filmmaking is a tedious process that is comprised of many intricate steps. However, many directors take matters into their own hands often controlling anything they can to ensure that whatever they envisioned for the film is executed properly. In many cases, the directors are also the writers of the film with filmmakers such as Guillermo Del Toro and James Cameron. Regardless of this, there are many ways to go about filmmaking, one different than the other. The story in which a film follows is essential but what truly decides a films fate is how well that idea is embodied and visualized. 

 With that, we can say that the directors are indeed the auteur of the film, or its author. Here we can incorporate the auteur theory, this basically means that the directors are the hands that shape the film, the one whose eyes we see through. This theory expresses that the distinct flair and style of the director is what makes a film stand out from the rest. The theory itself expresses that a “bad” director can also have the ability to make great films whereas a good, esteemed director is also fully capable of making bad films. In a sense, a good film can only be made when a director believes in his own vision, that he can create a world built on ideas in his thoughts. And that a film is likely to fail if one relies on the script too much or other supportive elements other than his uniqueness and style.

 The auteur theory bestows directors with the ability to have as much fun with the film as they want to. Pioneers of this theory were Alfred Hitchcock, Francois Truffaut, Satyajit Ray, Akira Kurosawa, Jean Renoir, they were one of the few true Auteurs who believed in using their own style of filmmaking. They had hoped that by establishing their own artstyle, or by marching to the beat of their own drum, so to say, they are able to create their own signature on film, imprinting their unique sense of film. Generally, directors breathe life into the film as they are the true creators of the film, and that though the end product is however a unified effort of every single individual in the movie. The cooperation and culmination of all those people are the backbone of the film’s success, and that the director is what pushes and lifts them towards the right path. The auteur theory is not only applicable in film but rather in life as a whole, we should not be afraid to break the mold, that we should break free of stereotypes that life dull and uniform. Difference is what makes us beautiful similar to that of films, such styles are what catapulted the likes of Stephen Spielberg, Pixar, Disney, and A24. 

 Although, many directors use their own distinct style in a more unconventional way. Portraying ideas in a way that has not been seen before, their ingenuity as filmmakers leaning more on the weird, offbeat side of cinema. In 1990, Tim Burton directed the Fantasy/Horror film Beetlejuice, starring Winona Ryder, Jack Nicholson and Alec Baldwin. The film made its debut on March 30, 1998, which is astoundingly over 30 years go. To this day we can still see the cultural impact its made in pop culture today. As an auteur, Tim Burton creates films that tackle dark, peculiar themes but executing it in quirky, lighthearted ways with the use of stop motion at times but mostly with the use of song. His take on horror films are what made him one of the prominent auteurs younger people have grown to love. 

 On the other hand, we have directors whose peculiarity is nothing short of shocking and thought provoking, like Danish filmmaker Lars Von Trier. His works are rather significantly more risque than than that of Burton, his works are no stranger to controversy and backlash with the outlandish use of sex and violence. However, his films are remarkably intriguing and complex. His two part cinematic masterpiece, called Nymphomaniac was a bold-faced interpretation of sex addiction and the grim reality of sex. To the untrained eye, his works can be seen as softcore pornography, however such scenes help exude the emotion of the scene. This boldness and willingness to take risks, is rather polarizing however the nerve of his films are what makes him a true auteur. In retrospect, we can see that directors have many different interpretations of film, ones lighter than the others. However, this goes to show that directors wish to convey different messages with the films they make. They themselves use the platform they have and their film expertise to evoke a narrative or an issue they want to shed light on and delve into deeper for the public to see and to educate themselves on. 

 In 2000, Lars Von Trier directed the danish crime/drama musical titled, Dancer in the Dark starring icelandic singer, Bjork. The film centers on the injustices faced by a single mother and her impending blindness whose fate is ultimately doomed. This captivating film, is an expose on the lives and hardships of single mothers, poverty, being a blue collar worker, and being blind. Tough pill to swallow critics deem it, however the provocative themes helped establish the film to the mainstream. Such films like these, that fight and speak for many causes are what helps gravitate viewers towards it, it helps them sympathize with the character thus establishing a connection with a film. 

 However, in the Philippines, we also have our own auteurs that are rather peculiar in nature. Those that take unorthodox approaches with regard to filmmaking like Mike De Leon. A renowned and esteemed director, writer, and cinematographer who was under the stewardship of national artist Lino Brocka working as a cinematographer in 1975’s Maynila Sa Kuko ng Liwanag. A native to the Philippines, De Leon’s humble roots started in May 24, 1947 in Pineda, Pasig City. His budding creativity took him to places even majoring in Art History in the University of Heidelberg in Germany. Working under Brocka, he had opted to branch out as he started to make a name for himself. Itim (1976) was De Leon’s first full length feature film that won him esteemed accolades at prestigious international festivals like the 1978 Asian Film Festival in Sydney, Australia. Itim was also deemed one of the “10 of the most outstanding films of the decade from 1970-1979” by the Philippine Urian Awards. De Leon’s first feature film, is one where technical prowess and abilities trumps almost everything else. The film mixes Catholic imagery with tinges of the supernatural to create an atmosphere that forms the backdrop to that is hallucination-inducing and overall, a haunting experience. Overall the narrative is a film splashed with elements of fantasy with more realistic, down-to-earth social concerns. 

 In the film Itim, De Leon took inspiration from superstition, spirituality and religion that are widespread in Philippine culture, such themes were especially demonstrated successfully. De Leon drew inspiration from our culture, highlighting parts of which that are not especially alluring to viewers. What sets Mike De Leon apart from other filmmakers is that his films truly speak for something, he wanted to show that sometimes the truth is not as glamorous as people make it out to be, showing that often times, the truth is cold and harsh. Earlier this year, he released a short film on video sharing platform Vimeo, called “Kangkungan”. Rooting from the Filipino expression “Pupulutin nalang sa kangkungan”, De Leon made this a metaphor for the extra judicial killings under the Duterte regime. Some viewers believe that it comes from the practice of disposing of summary killings in Kangkungans. It goes in depth in Duterte’s bloodbath and his so-called war on drugs. It even talks of the arrest of Senator Leila De lima, and the removal of Maria Lourdes Sereno as chief justice. In the film the quote “Itinatapon ng taong ito ang Pilipinas sa kangkungan,” referring to how our presidents leadership is running our country to the ground as the film depicts. 

 It is evident that De Leon’s films are very heavily politically driven. He is known for creating films that discuss patriarchy, discrimination, misogyny and fascism. In 2018, he directed and produced noire crime drama film, Citizen Jake starring journalist Atom Araullo. Similar to “Kangkungan”. Citizen Jake illustrated and exposed the sociopolitical landscape here in the Philippines and the people behind our administration today. He even poked fun at corruption here in the Philippines by bringing up figures such as Jinggoy Estrada, and Bong Revilla. Even bringing up the Marcoses and Manny Pacquiao. All throughout his films, we can gather that De Leon has a penchant for gore, violence and overall disturbing imagery. 

 One of his most prominent work like that of 1982’s Batch 81’ that highlights how detrimental and toxic culture of fraternities that thrive off of violence and brainwashing. In the film, we can see that the film is very anti-woman, which in essence, captures the misogyny and discrimination against women present in that era. The females in the film were mere plot devices, nothing more nothing less. The oppression against women especially notable with the dynamic of the protagonist, Sid and his girlfriend. However, a topic that is greatly tackled in the film is hazing. At this day and age, similar problems and issues persist in society. With the deaths of Atio Castillo and the exposure of hazing in the Philippine Military Academy. Such films are relevant and pertinent to the issues we face in society. This shows kind of a harsh reality given that the film was released almost 30 years ago, society today still remains the same, societal problems like hazing and misogyny are alive and well even to this day, which goes to show how little we have progressed as people. 

 It should be noted that Batch 81’ was a reflection of the Marcos regime at the time. The film centers on Sid Lucero, an aspiring neophyte for the fraternity Alpha Kappa Omega, better known as AKO. Throughout his hazing, he is subject to copious amounts of humiliation and psychological abuse yet his seniors are adamant this is a right of passage for every neophyte. Some suggest that the protagonist, Sid, is a metaphor for society then which shows the great deals of torment we had to endure under the rule of Ferdinand Marcos. Batch 81’ was somewhat of a silent protest at an age where Marcos was in control of all, if not most forms of media. As an auteur, De Leon’s signature as a filmmaker is his knack for political films that speak to people and fight for a cause, which directors should aspire to be. What good would films be if they did not teach us lessons we need to learn?

 However, with his penchant for politically themed films, we can see how experimental he came to be in the years to follow. In particular his work in Kakabakaba ka ba? Which is a musical, romantic comedy focused on one man’s unfortunate twist of fate when he is untangled in the world of drugs. In the film, Johnny is used as somewhat of a mule to transport raw opium unknowingly, he is chased by Japanese and Chinese gangs that wish to possess the opium he smuggled in the Philippines without his knowledge. Ultimately, the film is a reflection of how our society and economy is held at a chokehold by foreign forces such as the Chinese. This is especially prevalent given the number of Chinese occupants are rapidly increasing in the nation’s capital, as we slowly become a slave at the land our country owns. It also touches up on the subject of the church and how corrupt it can be regardless of the irony. 

 Both films are similar in nature because both speak for a cause close to the Filipino’s heart. Other filmmakers can only aspire to be like Mike De Leon, his determination to use his platform as a filmmaker to create films that speak not only for the problems of our society but what we deserve as people of our nation. We can admire him for peacefully protesting and airing out his bad blood with the government through art, because through this he is able to reach and educate more people about prevalent issues in society. Although what is truly refreshing is a director that truly pushes the envelope in filmmaking. One who is driven by his own principles, looking at film more than just entertainment but rather someone who uses this platform to change the culture of cinema, to cultivate a smarter audience that is able to instill the values the film exudes.

 In an age where modern tyrants like President Duterte run the country like a child to his toys, we should be able to educate ourselves in any way we can, whether it be from the news, from newspaper or through film. We must take it upon ourselves to foster a community that is socially aware of the reality of our nation today and the crises we face as people. In an interview with ANC, Mike De Leon was asked about his inspirations about his recent and provocative short film “Kangkungan”, he replied saying, “It was anger, frustration, disgust and despair.” That drove him to create such thought provoking films that truly speak to people. As we face a similar fate to that of the time of martial law, filmmakers like Mike De Leon are our beacon of light, those who are truly capable of sparking a change; a true mark of an auteur.

 However, some directors are led to believe that cinema is dying. Realistically, people are unable to shell-out the time and money to visit a local cinema, and often times these cinemas show the same run-of-the-mill teen heartthrob-led film or the latest Vice Ganda slapstick film. With that De Leon opts to use platforms like Vimeo knowing well enough that people simply cannot afford the luxury to visit the cinema these days. A characteristic of a genuine auteur is his ability to mold himself with the ever-changing culture of film and the needs of people at this day and age, De Leon is an exemplary sign that there truly are many auteurs in Philippine cinema today, but are rather just outshined by people who see cinema as a money making machine than as a visceral, powerful medium of art.

 The overall effectiveness of film is truly a feat, it is able to convince and persuade viewers with the notions and concepts it embodies. However, with great power comes great responsibility. In times where the world was in ruins, and people were struggling to stay afloat while dictators run the world to ashes, film was used as a vessel to spread out false and discriminatory propaganda. We can see that the power of film can be used for purposes that are not for the betterment of society. In an age where film is as easy as reaching into your pocket, films should not only be for the entertainment but for the purpose of education and enlightenment. A good director can execute their idea to the best of their abilities, with topnotch cinematography, impeccable editing, compound script but what separates bad films from good is the very idea behind it. Directors should be able to fight something, they should be able to create awe inspiring films that capture the thoughts not the eyes of the audience because after all, good films are a mix of mind and heart.

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Inside The Mind Of Lino Brocka

Films are an incredibly versatile example of a medium an artist can mold into whatever shape they deem fit, it has the ability to portray and visualize virtually anything. With that, not only is film versatile, but it is also a powerful and effective vessel for art. For many people, knowledge of a particular place, culture or historical event are only introduced and explored in film. Certain ideas may possibly only be introduced to people then. Ideally, filmmakers or artists opt to make their films revolve around specific ideas, themes, places, etc. Though essentially, films are not only made up of ideas, but rather it is a culmination of technicality and artistry. Comparably, in literature, there are two pivotal elements; language and grammar. However, in film, there is also an intricate series of elements that compose a film whether it be the music, the script, the direction, the cinematography, the list goes on. With that being said, films hold a great deal of importance given that it calls for the involvement of many artists and specialists.

 The power of cinema can be quite unparalleled, its influence can be seen all throughout history. In times were dictators and tyrants ruled the world, film was a tool they utilized to make their presence known. During the time of World War II, prominent names like Hitler, Kim Jeong Il, and Stalin whose propaganda was disseminated through film. Film can easily influence people, changing people’s opinions or outlooks on life. However, a trademark of a good film is how well it is able to impact the audience, given that the main objective of film is to send a message or to tell a story. Consequently, films play a rather large role in the society we live in today given its influence, some good, some bad. 

 Film is a prime example of the embodiment of culture, not only culture but life in general. It often molds itself after the influences around it. Films such as Steve McQueen’s 12 years a slave (2013), which is a biographical period-drama film depicting the life of an African American man wrongly sold into slavery is a gripping and chilling portrayal of slavery in the early days of the United States. With that, we can assume that films not only reflect culture, but it also actively influences it. What we can gather from this is that film is a peek into the visions of a person or a group of people. In addition to that, several people may have different ways of looking at the world, similar to how filmmakers have different art styles they take after when creating a film. Legendary filmmaker, French director Francois Truffaut once said “There are no good or bad films, just bad directors.”

 The world is far too big and far too complex for people to only look at it from one perspective. Somehow, we can say that directors are visionaries, they see what they want to see and make it a reality, turning mundane ideas into a visual spectacle of sorts. However, in the discussion of directors, people tend to become divided as to why directors are generally more known and renowned than anyone behind the film, except the actors of course. Whether it be in local film festivals like PPP (Pista ng Pelikulang Pilipino) to more renowned festivals such as the Cannes Film Festival, we can see how directors are being celebrated gallantly and generously, receive accolades of sorts for the things they do. We can assume that this is largely due to the fact that they are the powerhouse of the film, so to say. They take on heavier workloads, their involvement on the film is far greater than that of anyone on the film, and in a general sense, they have more responsibility over the film. That being said though, considering the amount of credit they receive it is important to note that however good or bad the film turns out to be it is often carried by the director themselves.

 Although, a film altogether is a collaborative effort of many people and their many specialties and abilities in their respective field. There are many visceral elements that comprise films, from actors, producers, cinematographers to lesser known roles like SFX personnel. There are virtually hundreds, sometimes even thousands of people behind a film. Every single person contributes to the production of the film, however some contribute more than others like in the role of the director in many cases. With the many people behind one film alone, there can be utter pandemonium behind the camera, there can be an imbalance but the nevertheless, the director balances out all the elements by managing everyone.

 Which begs the question, “Why is the director called the auteur?” or, “Why isn’t the writer the auteur of the film given that he’s the one that wrote it?” To answer that, the quality of the film is often attributed to the execution of the film itself which is largely thanks to the director of the film. Though on the other hand, writers still have a visceral part to play in creating a film but all throughout the process of filming, the script is constantly changing and writers come and go. One of the best films of all time Casablanca, starring Humphrey Bogart had 5 writers. As much as a good script is a fundamental part of a film, whether the film will be a success or failure is in the hands of the director because he assists in all departments ensuring that the end product is executed properly and that the vision he has for the film is embodied.  

In relation, the auteur theory exemplifies just that. It refers to the way of looking at the director of the film as its author. That one’s films are an expression of their freedom and identity as an artist and as a writer of the narrative they wish to portray through film. The auteur director shapes every part of the movie. Their fingerprints are visible on every aspect. Many directors, in fact, most, are not auteurs. There is a particular set of rules for defining a director as an auteur.  The auteur of a film is the film's true artist. The visionary behind it. The prime mover.

Take for example film heavyweights such as Wes Anderson, and his famous work in The Grand Budapest Hotel (2014) to lesser known films such as The Life Aquatic with Steve Zissou (2004), to his most recent animated film 2018’s Isle of Dogs. All three films represent his quirky, eccentric take on cinema with the use of symmetry and bold color palettes tinged with vintage influences. On the other hand however, there are also filmmakers that offer a different approach to filmmaking and have established a distinct visual style of storytelling such as David Fincher. Fincher’s treatment of film is quite the polar opposite to that of Anderson, this is visibly apparent in his distinct color palette, opting to make use of a darker palette making for a desaturated look in many of his films such as his award winning work in the film Gone Girl (2015), to the 1992 smash hit Alien, and cult classics like Fight Club (1999). Another notable characteristic present in the work of Fincher is his use of realism, and his true-to-life depiction of reality opposed to Anderson’s hyper realism.

 With examples such as these it is visible that many directors have different perspectives they wish to portray on film, and that one idea may have several different interpretations and explanations depending on how one perceives it and executes it with the elements they choose to utilize on film. Examples such as those stated above are also prevalent in Filipino cinema, with directors such as Cathy Garcia Molina who directed blockbusters such as Four Sisters And A Wedding (2013) and crowd favorite, One More Chance (2007). Molina is best known for directing lighthearted romantic-comedy films starring teen heartthrobs and the latest love teams of showbiz. Comparable to the likes of neo-realist director Brilliante Mendoza whose films are internationally renowned in various foreign film festivals with examples such as Kinatay (2009) and 2016’s Palm d’Or nominee, Ma’Rosa. With this, it is evident that auteurs are also a pivotal part of Philippine cinema.

 With the vast array of phenomenal film directors out there in Philippine cinema, from cinema staples such as Lino Brocka to Ishmael Bernal, to more contemporary visionaries like Mikhail Red and Erik Matti. Bearing this in mind, might we ask “Where does Philippine cinema exactly start?” Film auteurs have been around for as long as cinema was introduced here in the Philippines.  In fact cinema is considered to be one of the youngest art forms existing here in the Philippines. Over time it has evolved to an art form many people have grown to love. Astoundingly, film was only introduced to us in 1897, though it has endured many changes evolving from silent movies to talkies, from black and white to Technicolor. Outpacing its predecessors by gaining public acceptance, from one end of the country to the other, its viewers come from all walks of life. At present, there are over a thousand cinemas nationwide which just goes to show how universal of an art from film and cinema is altogether. In the 1980’s alone, research showed that there was an estimated 2.5 million Filipinos patronizing cinema. Generally, it is a mirror of how we are as people, our beliefs our customs and more often than not, it shapes our consciousness.

However the filmmaker we will thrust into the limelight today is the late, Lino Brocka. One of most prominent pioneer auteurs of Philippine cinema. Deemed the Philippines’ greatest director by some, Lino Brocka was a groundbreaking filmmaker who paved the way of intelligent, socially aware films through his many esteemed works in his lifetime. Many of which went into the nitty gritty of Filipino culture, even the parts that are less glamorous. Here we explore his life, his career but most importantly his work in Insiang (1970) and Maynila sa Kuko ng Liwanag (1975)

Born Catalino Ortiz Brocka, better known by Lino started with humble beginnings, in Pilar, Sorsogon, in the year 1939. Gifted as Brocka is, this is largely thanks to the influences of his father, Regino. His father taught him a great deal of what made him the influential filmmaker we know today, Regino taught him English, Mathematics and well, Art. However, later in life, his father was found dead in a political murder, forcing him to flee his hometown with his brother, his mother and his aunt. Life was not all good for Brocka, he went through and suffered significant amounts of physical and verbal abuse from his relatives forcing them to hard labour. Such experiences helped shape the phenomenal director and influence his later works. Despite hardships in life he maintained a steadfast mindset, even excelling academically which later won him a scholarship in the prestigious University of the Philippines. He had initially wanted a different life from himself, taking up a pre-law course but later getting in touch with his creative roots studying literature. During his stay in the University of the Philippines or U.P., he joined a dramatic club but was ostracized because of his strong provincial accent and upbringing, an experience he deeply despised. Because of this, Brocka took the initiative to immerse himself in the world of American films to practice his English. Later, he realized college was not for him causing him to drop out of college. He had somewhat of a spiritual epiphany, converting his faith to Mormonism. As a matter of fact, he was a humanitarian before he was even a filmmaker, even travelling to Hawaii to aid those infected with Leprosy. He also took up jobs here and there in his stay in the United States, however, one day he decided to pack up and return to his motherland to pursue his love for film. With his perseverance and commitment, he later made a name for himself in the world of Philippine Cinema. Later being the co-founder of CAP or the Concerned Artists of the Philippines.

In spite of this, his works remain relevant to society today. Brocka’s films were very raw, they featured characters that any Filipino could sympathize with, someone they could see themselves, those struggling, barely getting by while trying to fight the system. Interestingly enough, Brocka was a director who was not so fixated on the actors of his film, opting to cast lesser known actors. Brocka truly changed the lives of these actors, taking these actors from obscurity to stardom. He catapaulted the careers of actors such as Hilda Coronel, Laurice Guillen and Bembol Roco, who he worked with repeatedly in many of his film projects. His films were intelligent, they truly had a message to say. At an age where martial law was prevalent, his works remained socially conscious. As mentioned, Brocka was a Mormon but despite this the filmmaker was openly gay. His sexuality played a pivotal role in his films given that he incorporated splashes of sexuality in many of his films which he often revolved his narratives upon. His films often showed women who were head-strong, sexually positive which we can assume, was inspired by his mother. Brockas films were truly ahead of his time, tackling minorities and sensitive topics like discrimination, sex work and prostitutes, street hustlers and his favorite, the slums. In an age where martial law limited the perspectives of people, Brocka wanted to broaden their horizons through his work.

We can assume that as an auteur, this was his trademark, something that set him apart from different directors. Similar to that of Cathy Garcia Molina whose films are often young adult, tearjerker romantic-comedies. On the other hand, Brocka’s penchant for the he marginalised and ignored sectors of society was what truly makes him an auteur of his time. Taking for example his works in Insiang (1970), a drama set in Manila that centered on the protagonist Insiang, who after being raped by her mother’s boyfriend exacts revenge on those who dragged her down. His Brocka-esque touches are scattered all throughout the film. Rightfully so, the film was set in the slums of Metro Manila. Yes, you guessed that right, Insiang is a regular Jane who struggles to make ends meet as a labandera. Her life revolves mostly on her sharp-tongued mother, Tanya, who torments her and those around her, and whose boyfriend preys on Insiang, later raping her. Given the filmmakers proclivity for sex positive films, he gave his audience an unprecedented take on sex, that are not for the faint of heart. We see this in particular in the scene wherein her mother Tanya’s boyfriend, Dado violates her. When news spreads of her rape, her community discriminates her, somehow branding her with a scarlet letter. Generally, despite the sensitive themes against women in the film, it is after all a film about the Feminism movement. Though in the eyes of the regular viewer, it can be seen as a story of rape but what Brocka wanted to highlight was Insiang’s refusal to be a victim of her past, given that the film also talked about how she was able to successfully plot revenge. Insiang (1970) has the makings of every quintessential Brocka film, a gritty look of Manila, sexuality, and feminisim.

Insiang (1970) is comparable to that of Maynila sa Kuko ng Liwanag (1975), both tell a compelling story with flawed, yet complex characters. In the case of the latter though, the film fights for something different. Maynila sa Kuko ng Liwanag is a drama mystery centered on Julio who ventures out to Metro Manila to search for his other half, Ligaya who disappeared without a trace after she flees to Manila for work. The film is a depiction of Metro Manila and its illusion of luxury, and false promises of greener pastures when in reality, the city is a cesspool of thieves and corruption. Julio, representing the regular Filipino whereas Ligaya quite literally embodies happiness. In the film however, Julio valiantly fights through his odds, conquering many of the obstacles to find his beloved. All throughout, Julio struggles to stay afloat jumping from one job to another getting by from paycheck to paycheck, even dabbling in sex work as a male prostitute. Brocka’s influences clearly shown in the film’s portrayal of sex work and homosexuality. In contrast to Insiang, the film ends with Julio empty handed without Ligaya, his story left rather unfulfilled. Hot off the heels of the Marcos regime, the film can also be seen as a metaphor for Filipinos during such oppressive times. During this era, filmmakers struggled to make their presence known given the grip of the administration on media. Films such as these were somewhat of a silent rebellion against the system, these films spoke for the people lending their voices as a platform of the poor.

With these two films we can see how the filmmaker’s earlier struggles in life helped influence characters such as Julio and Insiang. We can see how he wanted these films to speak for the things he overcame in life. As such, he established his own unique footprint in the world of film. Brocka’s films were made almost 50 years ago, yet such themes remain relevant to society proving how his films transcend time with how well it aged. At an age were film was an expression of ideas, his films were a marriage of purpose and expression, one having the objective of speaking up and having an important story to tell while unleashing his artistic expression on film. His approach on auteurism, is something admirable given that he not only did this to have artistic freedom to express his ideas how he wanted to, but he spoke of these ideas and portrayed them the way he wanted to because he believed that film was a platform much greater than cinema itself but something that spoke and influenced society. The change he wanted to see in the world, was something he depicted in his movies which later influenced millions, thus making him deserving of the many accolades in his career, not doing it for the prestige but for the love of film.

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Insiang (1976)

National artist Lino Brocka’s films were very raw, they featured characters that any Filipino could sympathize with, someone they could see themselves, those struggling, barely getting by while trying to fight the system. Interestingly enough, Brocka was a director who was not so fixated on the actors of his film, opting to cast lesser known actors. Brocka truly changed the lives of these actors, taking these actors from obscurity to stardom. He catapaulted the careers of actors such as Hilda Coronel who plays the titular protagonist, Insiang. 

Insiang (1970), a drama set in Manila that centered on the protagonist Insiang, who after being raped by her mother’s boyfriend exacts revenge on those who dragged her down. His Brocka-esque touches are scattered all throughout the film. Rightfully so, the film was set in the slums of Metro Manila. Yes, you guessed that right, Insiang is a regular Jane who struggles to make ends meet as a labandera. Her life revolves mostly on her sharp-tongued mother, Tanya, who torments her and those around her, and whose boyfriend preys on Insiang, later raping her. Given the filmmakers proclivity for sex positive films, he gave his audience an unprecedented take on sex, that are not for the faint of heart. We see this in particular in the scene wherein her mother Tanya’s boyfriend, Dado violates her. When news spreads of her rape, her community discriminates her, somehow branding her with a scarlet letter. 

Generally, despite the sensitive themes against women in the film, it is after all a film about the Feminism movement. Though in the eyes of the regular viewer, it can be seen as a story of rape but what Brocka wanted to highlight was Insiang’s refusal to be a victim of her past, given that the film also talked about how she was able to successfully plot revenge. Insiang (1970) has the makings of every quintessential Brocka film, a gritty look of Manila, sexuality, and feminisim.

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Maynila Sa Kuko ng Liwanag (1975)

Living in a developing country such as ours, it is quite uncommon to see people venture out in the city to seek out greener pastures. Many people can become entranced by the illusions of a better future Manila can promise. Under the guise of better opportunities, there is a grim reality to the nation’s capital riddled with drugs and crime. Maynila Sa Mga Kuko Ng Liwanag encapsulates the false promises and illusions of Manila.

        In the film, Julio, a lowly fisherman from the province ventures out to Metro Manila to search for his beloved, Ligaya. Julio is then awakened by the harsh reality that Ligaya was exploited and was tricked to work as a sex worker in Metro Manila. The city’s true colors begin to reveal itself to him even more after a fellow coworker at the construction site he works in dies while on the job. He slowly realizes the horrors behind what seems like a land of new beginnings and greener pastures; to Julio, Manila’s façade begins to fade.

In my perspective, Julio’s ordeal is a metaphor or a reflection of Manila. Often times, venturing out to the nation’s capital can be seen as the door to abundant opportunities but in reality, life can be much more harsh and tough. One can compare Manila to the American Dream, treating Manila as if it were a stepping stone to a brighter future. The film truly captured the essence of the misconstrued perspectives people may have about success and the journey to get there. In essence, the film will humble the viewer.

We can see that in the film, it does not sugarcoat the living situations in Manila, the pollution, the poverty, shanties. It does not fail to show all sides to Manila, good or bad. We are given a first person perspective to the many difficulties in the nation’s capital, we can see this in particular with Julio’s blue collar job as a construction worker, and his struggle to stay afloat all throughout the movie. It is also evident in the scene wherein Julio is taken to Atong’s house in the middle of a squatter’s area. Given that the film is fairly old, it is surprising to see that conditions in metro manila remain exactly the same if not worse. We sometimes come across old films that show how much society has progressed, but given that the movie showed the grit and reality of this city, we see that we have made little progress.

Additionally, a recurring theme or value that is visible throughout the movie is determination. The film is an effective means to portray the determination of the protagonist in the many ordeals he went through in the story, it showed Julio’s depth and growth as a character. In the beginning, he was shown as being meek and timid but as the story progressed he grew from his struggles and developed a stronger sense of self and determination to succeed and find Ligaya. We can also see this in other characters such as Ligaya, we see that although she is stuck in a difficult predicament in life, she was still determined to free herself of the shackled placed on to her by her struggles even if it meant paying the price of her own life.

Generally, at this day, there are many Films with the same premise similar to Maynila Sa Mga Kuko ng Liwanag. Those that tackle the struggles of our nation’s capital but the film was one of the few pioneers at the time that introduced this theme and premise to the audience. In a time where the war on drugs is prevalent, a film such as this may be comparable to the situation of our country and government. The film is truly effective in terms of character and story, it evokes and emulates true emotion and depth.

[moviereviewsandtingz-blog]

                                               Batch ‘81 (1982) 

         Hot on the heels of Martial Law and the Marcos regime, films such as Batch ‘81 encapsulate the life and the emotions of this era. It reflects the struggles in society and the shackles one had to be free of at the time. 

                  The film centers on Sid Lucero a neophyte of the fraternity Alpha Kappa Omega otherwise known as AKO, through his journey toward becoming a bonafide member of AKO, the film takes us through the trials and tribulations one has to go through in order to be officiated. The initiation of which spanned 6 months with various ordeals that include public humiliation, physical pain as well as psychological manipulation. Though the film itself is riddled with dark themes such as blood and gore, the film is able to weave in lighthearted moments here and there. We can assume that these tidbits were placed for the viewer to breathe and to break the heavy and somber emotions the film evokes. Also, these moments show the humanity of the characters, that they are much more than their struggles. 

          In relation to this, it is evident that the film also tackles the concept of toxic masculinity. Though the film is set at a time wherein such concepts were not as popular as today, we can see that the film is able to present a portrayal of toxic masculinity. Generally, toxic masculinity refers to certain cultural norms that are associated with harm to society and to men themselves, this is also commonly associated with misogyny, homophobia, violence, and sexual assault. All throughout the film many of such concepts were tackled. From the gripping, gory final sequence to Santi’s sexual encounter, these scenes highlight the detrimental hyper-masculinity that was present in society then.

          We can also see that the film itself is a subtle rebellion against the Marcos regime and Martial Law. It is evident that Sid and his fellow neophytes are a metaphor for the Filipino people at the time whereas Vince and the rest of Alpha Kappa Omega is a metaphor for the Marcos Administration. We can see this in the ways Vince manipulated and inflicted harm to Sid and the other neophytes, though he insists that it is for the fraternity and that this is only rite of passage as a neophyte. However, as a viewer, we see that such ordeals Vince had the neophytes go through was bordering on assault and abuse yet time and time again, they are able to manipulate Sid and the others to cooperate. We can compare this in particular with Martial Law. During Marcos’ reign as the president of the Philippines, he enacted the Martial Law wherein we saw hundreds, or even thousands of individuals perish during this time. Though, Marcos was able to stay in power by manipulating his way into the government and the Filipinos. Ultimately, in the Film and in Martial Law, we saw many grisly deaths and massive amounts of bloodshed. In the film, though Sid went through a great deal of pain, anguish and abuse under Alpha Kappa Omega, he turned a blind eye and refused to see the abuse he suffered as it is. In many of the pivotal heart-wrenching scenes of the film, however difficult the situation may be, Sid remains to turn a blind eye, he remained indifferent towards his fellow neophytes and situations he’s put through. This as well is a metaphor we can compare to how the Filipinos were during the Martial Law, even if they were subjected to difficulties and discomfort, Filipinos were not able to speak up, rather they stayed silent thus perpetuating the viscous cycle.

          At this day and age, films such as these are relevant given recent events in society such as the murder of Atio Castillo who died of hazing under the hands of a fraternity. Batch ’81 opens our eyes to the reality of fraternities and hazing. That though being part of such a brotherhood may give someone a sense of honor and prestige, there is a harsh reality to it; death. Not all are like Sid Lucero, physically and mentally strong willed to endure such torture and abuse. Essentially, the film captures the reality, the anguish of the characters. We can often see ourselves in these characters and in this story. After all, we have all been to a point wherein we desperately want to belong somewhere.