1986: The Year Pinoy Film Art Died.

Maybe, that’s too harsh a statement. There were a couple more great films, especially from the indie world, that came after 1986.  Yet, it can’t be denied that the pickings had been slim after Marcos the dictator fled to Hawaii.

Mike de Leon's 'Sister Stella L.' (1984)

I said many times before that my generation was lucky to live through the Marcos years. There was always a new Pinoy film showing in the theatres, at least two major film events each month.   Brocka, Bernal and Mike de Leon’s careers flourished in that era.  Ironically, censorship then was so strict.  The slightest allusion to Philippine politics and violation of Imelda’s “the true, the good and the beautiful” precept found their way in the cutting room floor.  But those filmmakers managed to get their masterpieces through, sometimes heavily excised.  Even in their censored form, their films were still superior to what you’ve seen in the last two decades.

So, other than institutionalized corruption, a politicized military and patronage politics, Marcos’ legacy was the emergence of great film art.  Not that they were done under his auspices (except perhaps for daughter Imee’s Experimental Cinema of the Philippines-produced Himala and Oro, Plata, Mata).  Artists just had more daring during oppressive times.  It should’ve also been more challenging for them to mask their protest against the regime through slyly written dialogue or visual subtexts.

We’ve been free since 1986, but as film lovers, we haven't been as lucky.

Here’s a clip from the last great Pinoy film from the pre-EDSA era.