There is a theatricality in Jun Lana’s filmmaking for his film Sisa that heightens the film’s themes, emphasizing the tyranny of colonialism and “colonial mentality” while underscoring the vulnerability of women, not just during war, but at all times. The film opens with a tighter aspect ratio, a box frame reminiscent of classic cinema with stunning cinematography by Carlo Mendoza.
Set during the tail end of the Philippine-American War, the story focuses on one of the concentration camps established to force the insurgents to surrender by holding entire villages hostage by American soldiers. Throughout the film, Lana and Mendoza utilize uncomfortably tight shots, crazy angles, shifting aspect ratios, and vibrant tracking shots to really emphasize the tension and emotional weight of these characters within this narrative. Oftentimes, the mise-en-scene pushes the actors to move towards a gorgeous tableau, creating singular images that emphasize the film’s core theme.
This stylistic treatment allows Sisa to sidestep realism and focus on delivering its message. The film is not so much as a complete narrative, but more of a rallying cry. It’s an illustration of the horrors of war and how much worse it is for women.
The story of Sisa unfolds in one of these concentration camps, where a seemingly crazy woman enters and attacks a guard. When brought to his commanding officers, they take pity on her and allow the villagers to take care of her. Not knowing her name or where she’s from, the village children call her “Sisa,” after the woman in Rizal’s Noli Me Tangere.
There, Sisa becomes part of the community, living under Delia’s home, doing chores and visiting every nook and cranny of the camp. Within the first ten minutes, it becomes clear that Sisa is not the “crazy woman” she appears to be. By the end of the first act, we discover that she’s a spy working with the insurgents planning a take over of the camp.
However, nothing is ever that easy as the town is primarily left with the women, most of the men are either dead, imprisoned, or have fled to join the insurrection. But then again, women are fiercer and stronger than anyone ever thinks they are, and Sisa must work quickly to turn this village of women into members of the revolution.
While the film contains elements of a spy film or a caper, Sisa doesn’t fully operate within those genres. Instead, Lana focuses his attention on the manner by which women are oppressed by both patriarchy and colonialism. He focuses on the way the Americans utilize education and the teaching of English to sway the youth, seen in the way Delia’s daughter, Nena, begins to feel connected with them. For others, like Leonor, who is courted by the camp commander, Eddie Harrison. She is treated better, granted better rations, and because of this, she is shunned by the rest of the community.
Sisa, as both outsider and informant, becomes our eyes and ears. Through her observations, we process, we watch as the patriarchy and colonialism tear away at identity and the will to resist, forcing the colonized into subservient roles to please their oppressors.
After a thirteen-year hiatus, Hilda Koronel returns to the screen to bring Sisa to life. Even with very little backstory, Koronel manages to infuse the role with a history and layers underneath her character’s charade. This is a multi-faceted role that she carries effortlessly, while leading the ensemble forward.
Adding more talents into the production is Eugene Domingo as Delia, who is a force of nature. Completely removed from her comedic persona, Domingo reveals a totally different side of her and the effect is strong. Also delivering a standout performance is Jennica Garcia, whose Leonor is swept up in the confusion of her situation. She feels safe and protected by the commander that she has forgotten how the Americans have turned her into a widow. Her character’s eventual spiral in the film when she discovers the full extent of what the war has done to her and the people around her is arresting, a performance well worth watching.
Sisa is a gorgeous film, designed to push images and themes rather than to unfold a cohesive story. By looking at our past and allowing us to fully grasp what our country had to go through during the transfer of power from one colonial empire to another, we begin to understand how difficult it is for us to unite like other countries have. The sins of these oppressions is part of our lineage which we have yet to shake off. Like many characters in the film, we’d be happy to take scraps and morsels from our tyrants and be genuinely grateful to them while they work us to the bone and treat us less than human. Much like Sisa, we must look beyond the surface and start rousing ourselves to push back and unshackle ourselves from this idea that whatever is foreign is good for us. This movie couldn’t have come at a better time, with more and more stories about women fighting back taking center stage and in the world of politics, America has shown that their public image of being a benevolent protector of democracy is a complete lie. Sisa pulls no punches in delivering this message, clear as day, emboldening us to finally follow suit.
My Rating: 4 Stars
From Hilda Koronel’s haunting presence and Eugene Domingo’s dramatic revelation to Jennica Garcia’s arresting performance, Sisa is a true masterclass in acting. Don’t miss this gorgeous, thematic powerhouse while it’s still in cinemas. Check showtimes here.
