How Brillante Ma Mendoza ended up making twin films ‘Bansa’ and ‘Moro’
Director Brillante Ma Mendoza —BRILLANTE MENDOZA/ FACEBOOK
Brillante Ma Mendoza’s twin movies “Bansa” and “Moro” were originally made as a four-hour feature that was later edited to become two films, according to the award-winning filmmaker.
What was initially titled “Bangsamoro” features the points of view of two opposing groups, Mendoza explained. “Bansa” is from the perspective of the Special Action Forces (SAF) members who survived the 2015 Mamasapano clash in Maguindanao that led to the death of 44 of their comrades. “Moro,” meanwhile, zeroes in on the point of view of a Maguindanaoan family personally affected by the clash.
“We didn’t have a hard time editing it because, from the beginning, we were already shooting two films in one,” the Cannes best director said. “While I had hoped for a local release of ‘Moro’ sooner via the MMFF (Metro Manila Film Festival), I actually have a different plan for ‘Bansa’ because I feel that it tackles an issue that’s more global. The story of SAF 44 was considered international news.”
‘More local’
“‘Moro’ is more local in the sense that its story is focused on one family in Maguindanao. The two may have happened during the same period, but they are independent of each other,” Mendoza pointed out.“Bansa” features Rocco Nacino, Gina Alajar, Cesar Montano, Ricky Davao, Joem Bascon, Mon Confiado, Epy Quizon and Marvin Agustin.
“Moro,” on the other hand, follows two quarreling brothers—the diligent Jasim (Piolo Pascual) and the younger brother Abdel (Baron Geisler), who squanders his savings on gambling. Their mother (Laurice Guillen) tries to reconcile them with the help of the other members of their community. However, an unexpected government intervention puts the entire province in a state of severe violence.
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“Piolo and Baron were so serious about portraying their roles. I only had to explain to them what was required of them. The most challenging part was that they had to study how to speak Maguindanaoan,” Mendoza recalled.
Incidentally, it was Mendoza’s first time to work with Guillen. “She said she felt like a new actor. She was so excited and enthusiastic. She would listen to discussions intently. She studied her Maguindanaoan lines and memorized them. Actually, they all studied under a language coach. It was funny when she was already dubbing her scenes. She laughed and said, ‘Parang ang galing-galing ko dito.’” INQ
