For the Philippines, the seventies was more than just a period of shaggy hair, bell-bottom jeans, system shoes, and disco music. It represented the surge of the domestique dictatorship of Ferdinand and Imelda Marcos, a U. S. -sponsored regime seen as a military repression and from suppliers human legal rights violations. Alternatively, it was also the fecund period to get the sociopolitical awakening and involvement of numerous Filipinos; the humus for the renowned religious-political celebration, the 1986 EDSA Persons Power Trend. [2] Dekada 70 journeys with the central character Amanda Bartolome (Vilma Santos), the reticent partner of an alpha-male husband, plus the worrying mother of a boisterous all-male family.
Thoroughly relegated to domesticity in a globe slathered in testosterone, Amanda begins to experience a transformation when ever her family becomes imbricated in the sociopolitical realities caused by the Marcos dictatorship.
The declaration of Martial Law, the raising of the writ of habeas corpus, the curfews and police searches, all these could have easily floated past Amanda’s head experienced her kids not identified themselves captured in the crossfire between the government and the pro-democracy movements.
As one kid after one more faces the oppressive pushes of the dictatorship, Amanda gradually realizes that the personal is political. When chanting devise for sociopolitical change, your woman finds her own tone and relates to terms together with the fullness of her very own person. [3] It is noteworthy that in the film, the divine presence is sublimated in the refusal to agree to social structures that perpetuate injustice. The characters’ eyes are opened to the dehumanizing impact of such oppressive structures and they join in the prophetic denunciation of what they have recognized as ‘not-God. ‘
This significantly resonates while using praxical essential associated with theologies of liberation, which set up God since imbricated inside the collective protest of the oppressed. Amanda then, in her ‘conversion to justice, ‘ can be seen as synechdochic with the epiphanous ‘becoming’ of Filipinos as a accurate people of the eucharist. [4] Based on an granted novel of the same title, Dekada 70 essays Amanda’s personal and personal journey is known as a patient navigation of each 12 months of the seventies. To representative Roňo’s credit rating, the film has a very clear focus and steadily reaches its stage through interesting but inobtrusive camerawork. The politically-charged displays are strident enough to be visually disturbing, yet reinforced enough to work on a far more psychological level.
[5] You will find touches of seventies styleFilipino humor that foreign followers might miss; they effectively establish that the is a real, average Filipino family members trying to travel through the eye in the political surprise. The performing is generally impressive, most especially that of lead actress Santos, who also gives a lustrous, sensitive overall performance. Santos essays the change of Amanda so successfully that we do see plainly at the end from the film that there has been a fundamental change in her character. [6]
If there is anything to be faulted about the film, it really is Roňo’s inability to keep melodramatic moments in balance. The burial sequence of one of Amanda’s sons, for instance, becomes an over-extended treatment of large tears. The rich history material of Dekada 75 could do away with such ‘in your face’ paroxysms, which usually only work to uninteresting the film’s cutting edge politics trajectory. [7] Nevertheless, it cannot be rejected that Roňo had created a noteworthy, epic-scale Filipino film, and on another World finances at that. Additionally, it cannot be refused that Roňo had not ignored the phrase of history on his home country. [8] Neither will Filipino viewers.
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