Insiang

In the shanty town of Tondo, Insiang works as a laundrywoman. Her mother Tonya, whose husband left her and her daughter for another woman, sells fish at a market. She has become cruel and domineering to Insiang, preventing her daughter from pursuing relationships with men although she is romantically involved with Dado, a butcher several years her junior. Tonya evicts her sister-in-law and her family from their home, saying that they are a burden, and Dado moves in the following day.

Insiang's car-mechanic boyfriend, Bebot, sneaks into her house one night and asks her to have sex to make up for missing their date. She spurns his advances, telling him to leave before Dado (who sneaks out of his bedroom) awakens. Tonya learns about the affair, and slaps Insiang repeatedly. Dado meets with Bebot and warns him not to go near Insiang again, explaining that he has a hold over the girl and her mother. After learning from Bebot about Dado's threat, Insiang confronts Dado for meddling in her relationship. When he claims that Bebot is cavorting with other women and his threat was intended for her security, Insiang disagrees. He chokes her into unconsciousness later that night, and carries her away.

Tonya finds her crying in pain the next morning, and learns that she has been raped by Dado. When he returns home, Tonya throws objects at him and tells him to leave. He admits to having sex with Insiang, but convinces Tonya that her daughter tried to seduce him by bathing (and lying nude) in his presence. Tonya then blames Insiang for the assault, comparing her daughter to the girl's womanizing father. Bebot agrees to elope with Insiang to prove his love for her. They check into a cheap hotel in Binondo, where they consummate their relationship. Insiang wakes up alone the next morning, with no idea where Bebot is.

She returns home, and is forgiven by Tonya on the condition that she works with her at the market to keep her from seducing Dado again. Dado sneaks into Insiang's bedroom that night and admits his attraction to her, explaining that being with Tonya is the only way he can be near her. Insiang invites him to have sex the following night. She finds Bebot acting cold and distant the following day; that night, Insiang asks Dado to avenge her. Dado and his gang beat up Bebot at the dump the next day. Over the following days, Insiang and Dado's relationship becomes intimate. A jealous Tonya confronts her daughter, who reveals that she and Dado have been having sex because he has been attracted to her all along. Furious, she stabs Dado to death as Insiang watches without apparent shock or pity.

Sometime later, Insiang visits Tonya in prison. Uninterested in seeing her at first, Tonya tells her daughter that she has no qualms about murdering Dado; she did it so that he and Insiang could not be together. Insiang replies that she was disgusted with him for raping her, and wanted Tonya to kill Dado in anger and jealousy. Tonya says that Insiang must be overjoyed now that she has her revenge. Insiang tearfully hugs Tonya, craving her affection. When Tonya responds coldly, Insiang leaves her. Consumed with guilt, Tonya tearfully watches her daughter walk away from behind the prison bars.

Insiang explores themes of betrayal, revenge, and despair.[8] According to Lino Brocka, "The film is basically a character study of a young girl growing up in the slums. I wanted to show the violence of the overcrowded neighborhoods; the loss of human dignity caused by the social environment and the ensuing need for change."[9] It has been associated with the rape and revenge subgenre.[10] Don Jaucian of CNN Philippines said that the film's opening scene, depicting pigs being butchered, was "a thinly veiled depiction of the plight of the Filipinos under the Martial Law regime".[4] Some critics have associated the slaughterhouse scene with the country's poverty.[11][12]

The film was originally an episode of the Philippine television dramatic series Hilda, which aired in 1974 with 17-year-old Hilda Koronel in the lead role.[13] The screenplay, by Mario O'Hara, was inspired by a family he once knew.[14] Producer Ruby Tiong Tan (a stockbroker at the time) was approached by Brocka to pitch the film with O'Hara's script: "That was the first time I met him. I found him to be sincere, professional, convincing; he had a fire in his eyes as he spoke. That impressed me. I couldn't turn him down. At the end of that meeting, I told him 'yes, let's do the film'".[15] Two days later, filming began for 21 days, on location in Tondo.[14][15] Policemen were on duty during the shoot to prevent the crew from being bothered by gangsters, since the slums of Tondo had an organized-crime presence. The filmmakers had to work quickly, wrapping production in time for the first Metro Manila Film Festival.[9]

Insiang received good reviews from foreign and domestic critics,[17] some of whom called it Lino Brocka's masterpiece.[2][3][21][27] Richard Brody of The New Yorker called it an "intense, furious melodrama" which "fuses its narrative energy with documentary veracity".[23] Manohla Dargis of The New York Times said, "Throughout, Mr. Brocka, working with his excellent director of photography, Conrado Baltazar, creates images of startling power, like that of bloody hands clutching in the void."[11] Nick Schager of Slant Magazine gave the film a score of 3.5 out of 4: "Brocka's portrait of familial treachery and societal abandonment channels its melodrama through the filter of neorealism, its story's heightened emotions kept at a simmer by an aesthetic at once verité-blunt and yet shrewdly, meticulously composed."[12]

José B. Capino of Film Comment said, "Brocka's handling of melodrama is nothing short of virtuoso."[19] Michael Joshua Rowin of Reverse Shot (a Museum of the Moving Image publication) was, however, critical of its status as a masterpiece: "Insiang is all skeleton and little flesh: the actors trudge in front of the camera, woodenly recite the purely functional lines from Lamberto E. Antonio and Maria O'Hara's screenplay, and wait for Brocka to provide some sort of commentary. None arrives."[28]

The review-aggregation website Rotten Tomatoes gives the film a score of 100 percent, based on six critics, and a weighted average of 7.4 out of 10.[29] O'Hara adapted the script into a play for the Tanghalang Pilipino (Philippine Theater) in 2004.[30] The Philippine Star listed Insiang seventh on its 25 Most Memorable Films list in 2011.[31]

• Cinema of the Philippines
• List of films with a 100% rating on Rotten Tomatoes

• Insiang at IMDb
• Insiang: Slum Goddess an essay by Phillip Lopate at the Criterion Collection