'The ending says it best: We should take the struggle to the streets. Because, again, art can only do so much.'
Because of this socio-political condition, initiatives aimed at confronting the historical whitewashing that we find ourselves in and holding people in power accountable become all the more necessary.
Lamangan lays bare his positioning from the get-go, assured that, by telling a grassroots story of Martial Law violence, Filipinos will make a better sense of the uprising that took place at EDSA and, by extension, the nation’s historical amnesia. That in itself is an interesting route, if only Lamangan had cemented it with more competent filmmaking.
Editor Gilbert Obispo’s sloppy cuts between a huge chunk of footage, news headlines, and the story at hand gets in the way of the film’s storytelling, particularly in moments when its emotional heft is about to take a leap. The sound design, wielded by Fatima Salim, whose idea of impact is to be imposing and stick out like a sore thumb, also doesn’t provide the material any help.
If one can believe it, even an actor as talented as Picache delivers a less convincing work, resorting to an acting technique informed by so much whimpering — a lapse made more apparent by the dialogue that ends up too contrived, if not clunky. This oversight extends to other scenes, including those that highlight Mae Paner’s Doña Jessa, who winds up more like a caricature, especially in her “Mambo Magsaysay” moments, than a densely written character.
If it isn’t any clearer, transitional justice for Martial Law survivors would only be possible with laws that would place the Marcoses behind bars, with an educational system that acknowledges their struggles and competently teaches history, with a media that doesn’t cave in to the network of neglect, and with a culture that puts stories of people who have long been sidelined, if not totally erased, front and center.
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