Insiang lives with her mother Tonya in a hovel in the city outskirts. After being raped by Dado, her mother’s criminal companion, Insiang runs away with her boyfriend. But when he abandons her, all the girl can do is return home.
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Female Spartakiad å la Brocka. Girl is avenged for rape but oh! how tactically long it takes to reach there, how lustily confessor-director licks his plump lips while comforting dolorous gladiatrix. Ambrosial hypodermal thrills from seeing helplessness, humiliation and femme-to-femme abuse. You realize why revenge is slaves’ virtue: all one has to put up w/ and wait through is quasi-insurmountable. End is conversion-
Another strong Filipino film. Life in the slums is strongly portrayed, especially because of Brocka's use of sound and framing. A tense situation, not only for the characters. Read my review here: http://viewingfilm.wordpress.com/2014/02/08/insiang-lino-brocka-1976/
Film opens w/ screeching pigs being slaughtered in a grimy abattoir. Has a film's opening ever so steadfastly set the tone for what is to come? A lot of Filipino cinema seems to involve sexual assault. A lot of it seems to involve histrionic dramatics. Oh, you will get that stuff in INSIANG. The ugliness here is not counterpoint to beauty. The ugliness is in fact also beauty. There is Opera in the slums, my friend.
In a Filipino shantytown a young woman (Dostoevsky's "meek one") becomes a horror from her dire situation and the repeated abuse she takes from everyone around her. Maybe a bit rough round the edges - though what else should it be? - but it's true to its milieu. And packs a punch.
Une parfaite maîtrise des éléments dramatiques, qu'ils soient individuels ou collectifs, donne à cette étonnante œuvre souvent encensée du cinéma philippin, une dimension et une pertinence remarquables, portées par quelques solides acteurs plus vrais que nature et conduites, sans conteste par le plus grand réalisateur du pays...