As Insiang's mother brings her new boyfriend Dado into their lives Insiang becomes more and more desperate to leave the place and with Dado forcing himself on her one night Insiang starts to exact her revenge. Much of the film’s lure derives from the way the main character keeps revealing unexpected aspects of herself. Brocka had begun his career in 1970 making commercial genre films—domestic melodramas about marital infidelity as well as action pictures and comedies. Film data from TMDb. At face value the film will wreck you! Insiang (1976) dir. Thus a triangle is set up that can lead only to disaster. Throughout, I felt like her mother was almost too unlikable of a character, where it seemed as though there were no complexity to the person she was. Pessimistic worldviews. If in the first half she seems an innocent, wanting only to be rescued from a sordid situation, in the second half she becomes more calculating, having learned to use her sensual power over men. It is Insiang, initially pure and virtuous, who turns out to be the monster, bent as she is on revenge. Scorsese calls Brocka "one of the towering figures in film history," maintaining that a restoration of this film and Manila in the Claws of Night were "imperative" for his project. Insiang is a character who symbolizes betrayal, violence and suffering in a narrative which gradually takes you along the unchanging journey of her reality; similar to hopeless cinema and neorealism. It is Insiang, initially pure and virtuous, who turns out to be the monster, bent as she is on revenge. 3. Eventually, we pick out in the distance the heroine, Insiang, crossing a bridge. Insiang's gradual moral deterioration in the name of revenge sadly radiates to what could really happen in reality. Who says that it her duty to repay her for raising her. . Lino Brocka crafts an eviscerating portrait of an innocent daughter and her bitter mother as women scorned. Insiang has not much to rely upon, whatever she earns it directly goes to her mother. Lino Brocka mastered the build up of the story. Insiang may not be as explicitly political as many of Brocka’s later movies, but it insinuates a clear politics about the urban poor, merely by depicting their living conditions. Of these New Wave–like innovators, who brought about what came to be known as the “Second Golden Age”—the first was right after World War II—Brocka was the most internationally visible. I have no doubts whatsoever that this film was a form of protest and spoke volumes against the Marcos by way of symbolism and startling imagery of slums and its impoverished people! Even the other internationally acclaimed Filipino filmmakers generally explore the same themes of poverty and corruption in…. Indeed, Pierre Rissient, the extraordinary scout who first brought Insiang to Cannes and helped produce several of the filmmaker’s later films, has confirmed that Brocka knew nothing about lenses, leaving those decisions to the cameraman. This movie brought me closer to them and to my own identity as a Filipina woman. Brocka really stuck it to the (wo)man, Imelda Marcos, with these two films. When critics said that “Insiang” was Lino Brocka’s most perfectly-crafted movie, they weren’t mistaken. Insiang doesn't. Made by fans in Auckland, New Zealand. I had to do a report on Lino Brocka a year ago for school, the eccentric editing and sound made for a chaotic viewing experience. Hilda Koronel Mona Lisa Ruel Vernal Rez Cortez Marlon Ramirez Nina Lorenzo Mely Mallari Carpi Asturias, 95 mins   As someone who’s family immigrated from the Philippines I feel like this movie gave me a perspective of the lives of the women in my life that I was never able to fully understand. This film is about helplessness at least as much as it is about revenge, and it does a good job creating complex characters. The film’s psychology is intricate and subtle. Without you no IFFR. As Insiang says in a matter-of-fact understatement, “I feel no affection from her anymore.” Dado, no surprise, is more drawn to Insiang than to her aging mother. In certain respects, Brocka resembled Rainer Werner Fassbinder: both had theater troupes; both worked quickly and were inordinately prolific; both were gay and put forward a harsh vision of the strong preying on the weak. A small film in some respects, it is also an uncanny, resonant blend of neorealism and melodrama. However unlike the titular character Insiang, did we ever get…. Insiang is arguably Brocka's masterpiece - it's his most intense work, the intensity sustained from beginning to the end. Full of revenge, despair and melancholy all while showing the struggles many Philippine communities face while living in poverty. A surrealist carpet. Vernal was sexy and wily as oppressive Dado. Phillip Lopate’s latest book is A Mother’s Tale. This doesn't mean I sympathize with Imelda Marcos and her acts to ban this movie. With humor and verve, Bahram Beyzaie’s Iranian New Wave classic captures a moment in Iranian history when dissent against the authoritarian shah was beginning to percolate below the surface. Of course that we can trace revenge back to classic literature in the B.C. With worse filmmaking, a story of this sort might have resembled a bad soap opera. Director Lino Brocka's film was filmed during the period of time when the Philippines was under martial law (1972-1981)! I thought I was being really perceptive in proclaiming that this was a Phillipine Fassbebder film, and it turns out that the cinema community was already savvy to that fact for going on 45 years. This visceral work of alternating silence and cacophony builds in tension and drama until the final coda. A rock band orders a music video, but the film maker already had his head in the next film. Every contribution, big or small, is valuable. The plot synopsis sells revenge; what it doesn't sell, however, are the devastating effects that it can inflict in oneself as a double-edged sword. Would you like to be updated? Her plan really was brilliant, but of…, I thought this movie went well with Brocka's Maynila, sa mga Kuko ng Liwanag. Review by tous les garçons et les filles de leur âge... ★★★★★, A smoldering treat. Insiang surprises us initially when she declares her hope of getting married to the boyish, immature Bebot (she deserves so much better! Enjoy!!! Timeless and thrilling—falls in line with my love for Park Chan-wook’s revenge films, only leaner and more effortless. (It was this movie that inspired Lav Diaz, today’s most prominent Filipino director—and one also given to telling expansive stories—to become a filmmaker.) Kills me every time. In the background is a third suitor for Insiang’s hand, Nanding, a serious, studious boy—and, of course, she barely notices him.