Brillante Mendoza’s works have always been the stereotypical Filipino ‘indie’. They have always been showcases of the underbelly of society, complete with its persistent problems of poverty, corruption, and vulnerability, as well as its occasional glories—resilience in the face of tragedy, and capability for sacrifice out of love for family. The particular subjects may have been varied, but the approach has been constantly realist, and devoid of any visual spectacle other than what could be witnessed in actual life.
Ma’ Rosa is another entry in this tradition. In his works from the previous years, Mendoza wandered the archipelago: in Taklub (2015), he portrayed the brutal aftermath of Typhoon Yolanda in the Visayas; in Thy Womb (2012), he orchestrated a unique drama out of the cultural norms of Muslim people in Mindanao. Now, he returns to the slums of Manila, the place out of which he built his world-renowned reputation as a social-realist filmmaker.
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