Filipinos are no strangers to Martial Law documentaries, with the visual medium often showcasing the realities of Martial Law laid bare years after these atrocities transpired. But in this familiar landscape, The Kingmaker, a new international documentary looks into the mind of one of the leading figures of Martial Law as it uncovers the grandiose crown of lies and delusion atop the ugly realities of the Marcos regime.
Lauren Greenfield, an American documentary filmmaker, took an interest in former First Lady Imelda Marcos’ lavish yet secretive lifestyle, accepting the challenge of understanding the spiral of controversies and webbed lies that comprise Imelda’s narrative in The Kingmaker. Helming the director’s seat , Greenfield’s creativity shines through the story—giving new life into the character of Imelda Marcos as she is depicted in this cinematic light.
Cinéma vérité
The documentary delved into the complex narrative and character of the former First Lady. Greenfield told the story through Imelda’s point of view and it is juxtaposed against other’s perspectives, such as other members of the Marcos family, members of the Aquino family, and multiple government figures.
Snippets of off-camera moments were also included to enhance the larger-than-life character of the former First Lady. Greenfield described this as cinéma vérité, which alludes to a style adapted by filmmakers to expose the raw reality of events. These scenes brought out the fascinatingly crude behavior of Imelda who, until now, carries a certain charisma that shines through her fixation on beauty. Imelda can be seen constantly asking the crew in a joking yet still serious manner if her makeup looked good on camera. The joint laughter of the audience in the theater echoed a mix of disbelief and genuine amusement.
However, the glimpse of Imelda’s captivating personality does not end there, with the film being laden with moments of her character stealing the spotlight. In one scene, she was delivering a speech in the middle of numerous round tables with picture frames. Imelda picked one up, sending the numerous picture frames tumbling in a loud crash. The former First Lady did not miss a beat in her speech, unfazed by the mess. It wasn’t her problem to deal with.
Imeldific motherhood
A handful of clips in the interview showed Imelda’s desire to be the mother of the nation, contrasting with her actions. This is very clearly embodied in scenes of her explaining that the loss of her mother at an early age contributed to her motherly persona toward the Filipino people, which very much plays like a ploy at the sympathy card, enhancing her failed attempt at a sob story.
Imeldific indeed. Greenfield sets the tone of Imelda’s character by showing her giving coins to street children and paper bills being passed around to those confined in the Philippine Children’s Medical Center. The disturbing irony of playing up money as candy to be given to children in need does a great job in building the unsettling narrative and character to be introduced.
Desiring to continue building beauty within the Philippines, the reality of the once radiant Calauit Safari was told. The supposed Safari paradise was a vanity project where Imelda brought African animals to an island in the Philippines, but the film uncovered it as a failed vision. Most of the animals did not receive proper care since the caretakers were untrained to handle them. In a similar fashion, Imelda’s commentary on the current state of Manila feeds off the now grim landscape compared to the once beautiful city during her husband’s reign.
Contrasts and lies
Much like a cross-examination in a courtroom, numerous witnesses to the Marcos regime took to the stand to expose Imelda as an unreliable narrator and provide a counterbalance to her rosy narratives. Audiences may find themselves taken in by Imelda’s sweet description of her married life, how her loyal husband Ferdinand has always kept her happy, and then end up shocked when that tale is figuratively torn apart by her close friend Beth Day Romulo, who reminds the audience of Ferdinand’s numerous affairs, all while a recording of one of his extramarital conquests plays in the background.
By exposing her as an unreliable narrator, the film begins to poke holes at Marcos Nostalgia by pitting her testimony against that of her close friends and people who have dealt with her personally. Combined with the harrowing stories of human rights abuse victims, such as Pete Lacaba, May Rodriguez, and Etta Rosales, the viewer may ask themselves how Imelda could’ve retained her lens of nostalgia for so long.
A portrait of the mother as a Marcos
The Kingmaker reframes a familiar era in Philippine history through fresh eyes by delving into the Imeldific mind of one of the Philippine’s most notorious figures. The documentary paints a portrait of a self-proclaimed mother who claimed to be only bettering her country that was, in reality, suffering. The contrasts between her glamorous viewpoints and the grim reality can be jarring and unsettling.
In the end, The Kingmaker takes its place in the landscape of media related to Martial Law not only as a character study of the titular Kingmaker, but as a warning to be vigilant of the lies that muddle the past.
Rating: 3.5/4.0
