Some of them were actually filmed during the Marcos regime, when the media and the arts were censored and suppressed.

In more than a month, the Filipino people will choose a successor to President Rodrigo Duterte, whose administration has been widely criticized for gross human rights abuses and submission to China. But he fears the situation in the Philippines is changing for the worse, not the better, with the late dictator’s son Ferdinand “Bongbong” Marcos Jr. and his running mate, presidential daughter Sara Duterte-Carpio still leading the way. investigations for the presidency and the vice-presidency, respectively.

As for how the Marcoses continue to enjoy popularity with the public, that’s no mystery. Despite overwhelming evidence of the family’s ill-gotten wealth and historical accounts of martial law atrocities, many Filipinos still believe otherwise. This can be attributed to widespread misinformation campaigns and the proliferation of misinformation on social media. It is therefore important to expose the myths about the Marcos era and find out the truth about the social, political and economic conditions of the country during the said period.

One of the most effective ways to educate and get meaningful messages across is through movies. And contrary to Mr Duterte’s claim that ‘there is no study, no film on this’ in his bid to defend his decision to allow the burial of deposed tyrant Ferdinand Marcos in Libingan ng mga Bayani, there are a number of films – great films actually – that revolve around the struggles and human rights abuses during martial law. Some of them were actually filmed during the Marcos regime when the media and the arts were censored and suppressed, such as: Ishmael Bernal’s Nunal to Tubig (1976) and manila at night (1980); Mike de Leon Kisapmata (nineteen eighty one), Batch ’81 (1982) and Sister Stella L. (1984); Lupita Aquino – Kashiwahara’s Minsa’y Isang Gamu-gamo (1976); Peque Gallaga’s Scorpio Nights (1985); by Behn Cervantes Shakada (1976); and of course, the films of beloved national artist Lino Brocka, whose birthday falls on April 3.

Maynila with Kuko ng Liwanag (1975)

Described by film critic Noel Vera as “one of the best visual portraits of Manila ever made” (thanks to photography by Mike de Leon), it tells the story of a young fisherman named Julio Madiaga who travels to Manila to search for her lover. , Ligaya Paraiso, where he has to endure extreme poverty and exploitation. Based on the novel by Edgardo M. Reyes and adapted for the screen by Clodualdo Del Mundo Jr., Maynila shows the stark contrast between the harsh realities of Filipino society and the “new society” of the Marcos regime.

Insiang (1976)

It was only recently that I learned that “Insiang” was the first film shot in the slums of Tondo, Manila, as well as being the first Filipino film to premiere at Cannes. It follows the story of a young woman (played by Hilda Coronel) who finds herself in a miserable situation when her mother’s lover rapes her and pushes her to get revenge. Originally banned by Imelda Marcos for its honest depiction of urban poverty as opposed to the image they try to sell to the world, the film debunks the myth that the Marcos era was the Philippines’ “golden age” .

Good (1980)

With the international title of Obsession, this melodrama centers on the title character, Bona, played by Nora Aunor, as a teenage girl who drops out of school to pursue her crush on a petty movie player, only to be treated like a slave. Brocka brilliantly connects the obsession with movie stars and the religious fanaticism of the Filipinos, which can be compared to the blind idolatry of the Diehard Duterte Supporters (DDS) and the faithful of Marcos. Like its other classics, the film is set in a depressed urban community that details the poor living conditions during the years of martial law.

Bayan Ko: Kapit in Patalim (1984)

One of Brocka’s most powerful films, it addresses the struggles of a worker who is pushed to the wall by the vicious capitalist system. Banned upon release, Brocka had to smuggle the film to the Cannes Film Festival in France where it was nominated for the prestigious Palme d’Or. But more importantly, he drew international attention to the human rights situation and the plight of the poor in the country under the Marcos dictatorship.

Orapronobis (1989)

Jose F. Lacaba wrote this controversial political thriller, which was banned by President Corazon Aquino upon its initial release. Based on true events, the film explores the terrifying reality of anti-communist paramilitary groups that are used by the state to terrorize rural dwellers. Although primarily about human rights abuses during the Aquino administration, as Brocka reveals, the film reminds us of the continuing horrors of martial law and the need to resist it. – Rappler.com

Daniel Aloc has a degree in political science from Adamson University. He is a member of the Filipino Student League and a senior analyst by profession.