Mike de Leon

Sog.: dal romanzo The House on Zapote Street (1960) di Quijano de Manila (Nick Joaquin). Scen.: Mike de Leon, Doy del Mundo Jr., Raquel N. Villavicencio. F.: Rody Lacap. M.: Jess Navarro. Mus.: Lorrie Ilustre. Scgf.: Cesar Hernando, Lea Locsin. Int.: Vic Silayan (sergente ‘Dadong’ Carandang), Charo Santos-Concio (Mila Carandang), Jay Ilagan (Noel Manalansan), Charito Solis (Dely Carandang), Ruben Rustia (Peping Manalansan), Aida Carmona (Onyang), Juan Rodrigo (Ernie), Dindo Angeles (Mario). Prod.: Rolando S. Atienza, Simon C. Ongpin, Ma. Rosario N. Santos (Charo Santos-Concio) per Bancom Audiovision. DCP. Col.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

The Directors’ Fortnight at the 1982 Cannes Film Festival presented two works by the same director, Batch 81 and Kisapmata. Like Ishmael Bernal, Peque Gallaga, Kidlat Tahimik and Lino Brocka, Mike de Leon is one of the most courageous and talented voices of the golden era of Filipino cinéma d’auteur under Marcos’s martial law. Son and grandson of an artistic family (his grandmother, Narcisa ‘Sisang’ de Leon, was the matriarch behind LVN, one of the four historic Filipino film studios of the 1930s, 40s and 50s), de Leon founded his own independent company Cinema Artists Philippines, with which he produced Lino Brocka’s masterpiece Manila in the Claws of Light (1975), a film he also worked on as the cinematographer. Brocka and de Leon shot at night to get around the regime’s attempts to silence them.: “We are stray directors,” Brocka later said. Their names were closely tied together: protesters among the protesters and militant filmmakers. The tyranny and violence that pervade family life in Kisapmata reflect the erasure of civil rights in Marcos’s advertised ‘New Society’. “Rebellion has no chance of succeeding in the Philippines” – de Leon once said –“The reason is simple: no one rebels against the arbitrariness and the horror”. De Leon’s condemns the extreme right’s radicalism and violence, the myths of the Filipino middle class. of the Filipino middle-class (the family, the armed forces) as well as the widespread Americanesque consumerism.

Cecilia Cenciarelli

Restored in 2020 by Mike de Leon at L’Immagine Ritrovata laboratory (Hong- Kong and Bologna). The 4K restoration used an incomplete 35mm original camera negative, a positive print and the original optical soundtrack negative preserved at the Asian Film Archive. Color grading was supervised by Mike the Leon as well as sound restoration, both carried out at Wildsound Studios in Manila