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Art Appreciation Movie Review
Hui, Kenneth Mark B. March 07, 2015
Film Title: Bona
Director: Lino Brocka
Nora Aunor as Bona
Phillip Salvador as Gardo
Marissa Delgado as Katrina
Raquel Montesa as Nancy
Venchito Galvez as Bona’s Father
Rustica Carpio as Bona’s Mother
Nanding Josef as Nilo
Spanky Manikan as Bona’s Brother
Time – During Martial Law
Place – Manila
B. Movie Analysis
Lino Brocka explains the importance of reflecting poverty and the culture of the masses on film not just to fulfill realism for realism's sake, but in order for the audience to fully grasp the significance of their roots and move them to remedy the ills of their society.
BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind.
Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies.
Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder.
Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his...