Made in Malacañang

If there is one thing we need to appreciate about MiM, it is that message that, before we are Filipinos, we are all humans.

August 8, 2022

This ongoing hysteria over a film about the Marcoses is already like an extension of the election campaign, as the two sides of pro and anti continue to gnarl and growl at each other over art and history.

It came to a point that the dilawans aka kakampinks had to revive a martial law-inspired stage play made into film and shown last year, and repackage it as a new release just to counter the massive attention generated by this Maid in Malacañang of the current boy wonder of Philippine cinema, writer-director Darryl Yap.

I have not watched Katips, and I do not intend to, as it is already sufficient to know that it is trash that was recycled just for propaganda’s sake.

How sad it is for those behind this movie to be made into cannon fodder to counter a narrative that is now slowly but surely gaining ground among the citizenry. It is not as if Katips was reintroduced because it is art, or that it is actually an awesome production. It was practically rammed down our consciousness because there is an urgent need for counter-propaganda. It was what was available.

As for MiM, I did watch it, and seriously, there was so much ado about martial law or this so-called historical revisionism that was not there.

MIM is actually the story of a powerful family being reduced to their basest instinct to survive a political tsunami that went against their way.

It is the story of how absolute power is fleeting and really superficial when all hell breaks loose, and how an all too powerful president and commander-in-chief is downgraded to become simply a father who wants to be validated.

Interspersed within is the narrative of this fall and failure, as gleaned through the eyes of those within the corridors, the help, or the maids.

It is this PoV which successfully resonated with the audience, because it is where the powerful and the powerless become equal.

Again, I wonder why the antis are so triggered by this film and have been raising hell about revisionism. Where is that misplaced rage coming from?

If at all, what MiM conveyed is the emotion that we all failed to witness during those tumultuous 72 hours inside Malacañang.

What MiM showed was what we never saw — the agony of defeat and despair, and how the powerful accedes and behaves toward abandonment, isolation and treachery.

There is absolutely nothing in our history that was revised in this movie. Besides, it is a movie, dammit!

If at all, this is a movie about our mortality.

If there is one thing we need to appreciate about MiM, it is that message that, before we are Filipinos, we are all humans.

Mark my word.

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