Dekada 70 Essay

For the Philippines, the seventies was much than scarce a period of shaggy hair, bell-bottom jeans, platform shoes, and disco music. It represented the raising of the conjugal dictatorship of Ferdinand and Imelda Marcos, a U.S.-sponsored government characterized by military repression and wholesale homophile rights violations. Conversely, it was also the fecund period for the socio semipolitical variety show and involvement of many Philippines the humus for the far-famed religious-political event, the 1986 EDSA People Power Revolution. 2 Dekada 70 journeys with the interchange character Amanda Bartolome (Vilma Santos), the reticent wife of an alpha-male husband, and the worrisome mother of a boisterous in all-male brood. thoroughly relegated to domesticity in a world slathered in testoster cardinal, Amanda begins to undergo a mutation when her family becomes set in the sociopolitical realities brought just about by the Marcos dictatorship.The settlement of Martial La w, the lifting of the writ of habeas corpus, the curfews and police searches, all these could have easily floated past Amandas head had her sons not found themselves caught in the crossfire between the government and the pro-democracy movements. As iodin son after another sheaths the autocratic forces of the dictatorship, Amanda gradually realizes that the personal is political. While modulation slogans for sociopolitical change, she finds her own voice and comes to terms with the magnificence of her own person. 3 It is notable that in the movie theater, the presage presence is sublimated in the refusal to accede to societal structures that perpetuate injustice. The characters eyes ar opened to the dehumanizing impact of such authoritarian structures and they join in the prophetic sworn statement of what they have identified as not-God.This significantly resonates with the praxical imperative associated with theologies of liberation, which configure God as imbricated in t he collective quetch of the oppressed. Amanda then, in her conversion to justice, can be thinkn as synechdochic of the epiphanous becoming of Filipinos as a true people of the eucharist. 4 Based on an awarded novel of the same title, Dekada 70 essays Amandas personal and political journey is a patient navigation of each twelvemonth of the seventies. To director Roos credit, the strike has a clear focus and steadily gets to its point through engaging but inobtrusive camerawork. The politically-charged scenes are strident fair to middling to be visually disturbing, yet tempered enough to work on a more psychological level.5 There are touches of seventies style Filipino humor that external audiences might miss they effectively manifest that this is a real, average Filipino family assay to navigate through the eye of the political storm. The acting is generally impressive, most particularly that of lead actress Santos, who gives a luminous, sensitive performance. Santos es says the transformation of Amanda so effectively that we do see clearly at the end of the accept that there has been a fundamental change in her character. 6If there is something to be faulted about the film, it is Roos failure to affirm melodramatic moments in check. The funeral sequence of one of Amandas sons, for instance, becomes an over-extended session of copious tears. The abounding story material of Dekada 70 could do away with such in your face paroxysms, which only work to dull the films cutting edge political trajectory. 7 Nonetheless, it cannot be denied that Roo had created a noteworthy, epic-scale Filipino film, and on a Third orb budget at that. It also cannot be denied that Roo had not forgotten the destine of history on his home country. 8 uncomplete will Filipino audiences.