The movie documents the last 72 hours of the Marcos family in Malacañang during the People Power revolt of 1986, as told from the Marcos’ viewpoint, with Imee Marcos as consultant Creative Producer and Yap as screenwriter. Interestingly, the role of the three maids in the movie is pivotal in retelling the story. The maids Lucy (Elizabeth Oropesa), Santa (Karla Estrada) and Biday (Beverly Salviejo) provide the lighter and comedic moments of the film while strategically giving it a plebeian flavour. These combined viewpoints are neatly structured in compact film chapters, a style that allows it to jump from one highlighted incident to another.
The movie starts mysteriously in the present day with the launch of a Martial Law Museum, with a bashful young man (Jerome Ponce) enamoured with the museum tour guide (Sazchna Laparan). Fairly standard teleserye narrative feel until the film launches into a flashback to the 1970s.
The opening musical number comes in rough, aiming to reenact the First Quarter Storm of 1970. It would have had more impact and authenticity if it had been filmed on Mendiola Bridge. Instead, it was shot in an unidentifiable rural location, having no political or filmic significance. The editing of this crucial first scene, which included the arrival of the Metrocom police, is a bit over-the-top, if not technically overworked, with its outdated editing techniques. The scene is also entirely on the longish side. The film is nearly 2.5 hours long, and some musical numbers could use just a bit of judicious paring down.
But then, the drama unfolds as you get to know the KATIPS activists, and just like an imperfect romantic partner, the film grows on you. As you settle in with the rough editing style of narrative interspersed with musical numbers, you feel for these brave young souls during the Marcos martial law years as they fight for their rights under a repressive atmosphere of curfews and censorship. Then, there are the dark days of desaperacidos (victims of involuntary disappearance), the writ of habeas corpus, the haunt of police torture and brutality, and the salvaging of individuals.
The lead heroes and heroines of the film were University of the Philippines (UP) student leader Greg (Jerome Ponce), underground newspaper writer Panyong (Vince Tañada), KATIPS home base owner ‘Tandang Sora” Alet (Adelle Ibarrientos), and Fil-American balikbayan-turned-activist Lara (Nicole Laurel Asensio). They are supported by the powerful voices of labour leader Estong (Joshua Bulot) and 17-year-old UP freshman Art (Johnrey Rivas), Philippine Collegian editor Bebang (Afi Africa), tough Waray student Susie (Vean Olmedo), together with oldtimers Sr. Claire (Dexter Doria), salvaged UP professor and protest leader Ka Manding who is also Lara’s father (Nelson Mendoza) and Mang Temyong (Lou Veloso). The merciless Metrocom chief Lt. Sales (Mon Confiado), and his menacing sidekicks (Dindo Arroyo and JP Lopez) were pivotal to the conflict.
A very natural and understated performance from Ponce as Greg is the film’s overall hook as he falls in love with the naive and stubborn Lara. In general, the ensemble acting is believable, with some highlight performances by Tañada, Ibarrientos, Asensio, Rivas and Confiado. There were some impressive musical numbers, too, despite some needing a trim. The catchy music of Pipo Cifra and the rich lyrics of Vince Tañada came alive with the powerful FAMAS-winning youth struggle love song Sa Gitna Ng Gulo, the innocently cheerful Metro Aide anthem I Love You Apo, and the heartrending FAMAS-nominated romantic ballad Manhid. Even the piano number by Lara paired with the protest monologue by Panyong and Alet was so compelling and intense in its subtle messaging.
As the film was faithfully based on numerous research and interviews by Tañada of martial law detainee survivors, the youthful idealistic nature of the film suddenly goes dark midway through some graphic torture scenes of captured KATIPS members Estong, Art and Alet by Lt. Sales and his Metrocom police force. If these scenes were meant to shock the audience with the reality of the past, then it has definitely achieved their objective, judging from the realistic execution of the torture scenes: victims stripped naked, nails removed with pliers, skin burning using cigarettes and flat irons, sitting on ice blocks, electrocution of genitals, being urinated on, and a very shockingly triggering rape scene by Lt. Sales of Alet. All three were shot dead after their torture. These violent scenes were presented raw and unadorned sans any music. What could even be more shocking is to realise that these scenes were based on factual events.
At this point, the film suddenly switches the genre from an ideological musical to a very affecting unsettling film drama on human rights violations. Kudos to Tañada’s direction and screenwriting in creating that abrupt experiential journey of eye-opening shock within a seemingly harmless singing and dancing framework of a movie. In this decision, Tañada, grandson of former Senator Lorenzo Tañada, a celebrated human rights lawyer, has cinematically achieved the realisation of the vehicle of truth and justice in his work.
As far as facts are concerned, KATIPS may get its fair share of criticism from various political leanings. A little fact-check moment was when Panyong joked about Wonder Woman’s Lynda Carter (an event that happened in 1976) with Lara when she arrived just after martial law in 1972. Even more confusing is that Lara’s arrival was supposed to be in a week in 1970, as announced by her father, Ka Manding, just before he was murdered in the opening scene. That said, Tañada must have employed his artistic license to weave a tighter, more integrated storyline using facts from various timelines. Nevertheless, the irrefutable facts of the victims of the Marcos regime cannot be denied during the film’s ending, when the actual names are shown carved in that stone memorial monument Bantayog ng Mga Bayani, a memorial wall to the fallen heroes struggling against martial law. And with that movingly memorable reunion gathering of the survivors, KATIPS ends with hope and inspiration in a heartbreakingly emotional finish.
In the South Korean zombie classic TRAIN TO BUSAN, there is a scene where the zombies are locked in one train compartment with the uninfected humans doing all that they can so these zombies can’t escape. It is a natural human instinct for survival, to not die, and the zombie film is probably the most existential of the horror genre to embody this.
The Jewish International Film Festival (JIFF) is back this year at the Ritz Cinema in Randwick, Sydney from 18 February to 24 March 2021. The festival spans a varied collection of Jewish films in both documentary and narrative feature formats. There is a bit for everyone, including movies and TV series from Israel, stories about the Holocaust, and compelling profiles of prominent Jewish personalities. Among the documentaries, here are my highlights to guide you when selecting what to watch.
