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3 out of 5 people found the following comment useful :-
Best Brocka film ever, 12 September 2002
Author: purakek from Toronto, Canada

Forget the rest! Hilda Koronel's magnificent performance as the title character is enough to recommend this tale of rape and revenge, seduction and squalor, power and poverty. Hilda lives in a slum in Manila, maltreated by her domineering mother (Mona Lisa). Her mother has a lover (Ruel Vernal) old enough to be her son. Vernal, doing the lover bit because Lisa holds the household money, has his eyes set on Insiang. He rapes her but Insiang turns things around, getting Vernal to be her parasitic paramour. Great film noir, great performances.

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my favorite Lino Brocka film, 26 January 2009

Author: stickslip from stickslip.wordpress.com

*** This comment may contain spoilers ***

I found two early Lino Brocka films on Netflix: "Tinimbang Ka Ngunit Kulang" (1974) and "Insiang" (1976). Both belong to the short list of Brocka's finest works from the 1970's to the early 1980's.

"Insiang", starring Hilda Koronel, Mona Lisa, and Ruel Vernal, has the reputation of the first Filipino film to be screened at the Cannes Film Festival (1978). It is without reservation my favorite Brocka film. Shot in the slums of Tondo through neorealist lenses, its domestic melodrama at the same time aspires to Greek tragedy. It is Brocka's tightest, most well composed film; the character's fates play out inevitably from the opening slaughterhouse scene to the catastrophic last act. As usual, Brocka brings levity to the nastiness of poverty with cinema verité details, as when Tonya very publicly throws out a clan of in-laws living in her shanty. She demands the clothes she had given the children to be handed back; their mother, outraged, strips off the garments from the bewildered kids right there on the streets. This, for me, is the 'punctum' of the film, as Barthes would say. There is another: at the end, when Insiang visits Tonya in prison, she confesses to her mother that she deliberately provoked her jealousy in order to get back at Dado; Insiang rushes to embrace her, and there, for a split second, Tonya's expression yields to motherly tenderness, before quickly turning, once again, into that of the jealous rival.

Brocka's films are are always marked by strong acting, not just from the stars, but also from the rest of the cast; there is a feeling of an ensemble effort, which is not unexpected, since Brocka brings with him the crew of the Philippine Educational Theater Association (PETA) Kalinangan Ensemble. I saw "Insiang" for the first time on the big screen when a print restored by the French government was played in a Makati theater. Mona Lisa, silver-haired, graced the screening.

(This review also appears in stickslip.wordpress.com as "Two Early Brocka Films: 'Insiang' and 'Tinimbang Ka Ngunit Kulang'")

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1 out of 10 people found the following comment useful :-
Classic mélo Filipino, 27 September 2006

Author: Chris Knipp from Berkeley, California

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.

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