Insiang (1976)

User Rating:

7.7/10   

Director:

Lino Brocka

Writers:

Mario O'Hara (story)
Lamberto E. Antonio (screenplay) ...

Release Date:

29 May 1980 (Hungary)

Genre:

Drama

Plot:

The first Filipino film to show at the Cannes Film Festival is set in the slums of Manila. A beautiful girl gets raped by her mother's lover, and then learns how to exact revenge. |

Plot Keywords:

Slum | Garbage | Slaughterhouse | Rape | Market

Awards:

6 wins & 11 nominations

Cast

Hilda Koronel	...	Insiang
Mona Lisa	...	Tonia
Ruel Vernal	...	Dado
Rez Cortez	...	Danny
Marlon Ramirez
Nina Lorenzo
rest of cast listed alphabetically:
Mely Mallari
The Peta Kalinangan Ensemble
Tommy Yap

Runtime:

95 min

Country:

Philippines

Language:

Filipino | English | Tagalog

Color:

Color

Sound Mix:

Mono

Company:

Cinemanila

Movie Connections:

Referenced in Anak ni Brocka (2005)

Classic mélo Filipino

Lino Brocka's 1976 melodrama of slum family love double-crosses was the first Filipino film to be shown at Cannes and is being revived at festivals. It deserves to be seen for the female actors, mother Tonia (Mona Lisa, credible as an aging lady who's still highly sexed and attractive) and gorgeous daughter Insiang (pronounced "Inshang"). Hilda Koronel, who plays Insiang, is enough like a Loren or a Lollobrigida to make you think of Fifties or Sixties Italian cinema and the visual style is conventionally of an early period, but this brutal story lacks the humanity and warmth of the Italians. Tonia drives a family of in-laws out of her shack (which is in with other families; in this barrio there is no privacy and all is known) because she can't feed them, but her ulterior motive is to bring in Dado, a handsome, macho man and a gambling no-good probably young enough to be her son, as her lover. Insiang has several young men interested in her, but the one she chooses is too cowardly and lazy to run away with her as she would like. Soon Dado puts the make on Insiang. It turns out badly for just about everyone in this miserablist drama, which has been compared to Fassbinder and Sirk. It's been commented that the story undercuts the two major values in Filipino film – motherhood and the sanctity of the family. Brocka certainly keeps things lively, as do popular dramatic films from other Third World countries, and telenovelas. Yes, this holds the attention; but unfortunately the print used for the NYFF 2006 showing was an ugly-looking digital transfer that made all the boys look pimply and the shots look shoddy. Only Koronel's face shines through.