'58th' review: Quest for justice continues for Maguindanao Massacre victims
MANILA, Philippines — Seventeen (17) years since the Maguindanao Massacre, the quest for justice remains for the family of Reynaldo "Bebot" Momay — the titular victim of animated docu-drama "58th" on the tragedy and whose body was never found.
Director Carl Joseph Papa and co-writer Aica Riz Ganhinhin utilize rotoscope animation to re-enact conversations and recollections of Momay's daughter, Reynafe Castillo, alongside archive footage in the aftermath of the horrific massacre.
Glaiza de Castro plays the role of Castillo, while Momay is portrayed by the late Ricky Davao in his last-ever credited role following his death last year.
After making the festival rounds, most significantly Rotterdam and Annecy, "58th" made its Philippine premiere during the 22nd Cinemalaya Philippine Independent Film Festival last August 13.
Unfortunately due to the content and issues tackled in the project, filmmakers are concerned the special screening may be the first and last public screening of the film.
The situation is reminiscent of the fate of the "Lost Sabungeros" documentary in Cinemalaya's 2024 edition. It was pulled just days before it was to be screened, citing "security" reasons. "Lost Sabungeros" later found its viewers at QCinema International Film Festival 2024 and select school screenings.
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Momay may be the primary subject of "58th," but the animated docu-drama covers much of the issues stemming from the Maguindanao Massacre, particularly the instigating feud between the Ampatuan and Mangudadatu clans, as well as how authorities handled the massacre's aftermath.
Papa has championed the use of rotoscope animation in his films, most popular among them his Cinemalaya 2023 winner "Iti Mapukpukaw," and this animation once again makes a distinct mark as a storytelling style.
Different animation techniques are used for Castillo's interviews with a journalist (played by Mikoy Morales), her memories of her father and the actions she took after his disappearance, and the fictional retelling of how the killings took place.
Each are harrowing reminders of what many call among the deadliest events for journalists, a note Papa and his team did not shy away from, even as the Philippines today remains to be among the most dangerous country for journalists.
Glaiza's expressive eyes and reactions shine through in rotoscope animation, literally painting the devastation of a daughter yearning for her father's safety and return even as hope slowly dwindles.
The pain of waiting for answers is juxtaposed with real-life footage of authorities' bureaucratic mishaps and eventually a longer delay for justice to be served.
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Verdicts were handed a decade after the massacre, but none in relation to the supposed death of Momay. This naturally angers Castillo, whose wait for government or judicial acknowledgment continues today.
Disturbing comparisons can also be seen in clips of Ampatuan supporters claiming the family's innocence in the tragedy, and many in the family still holding political sway in Maguindanao.
All these reflect the concerns of the "58th" team that more Filipinos will not be able to see this docu-drama when it is Filipinos more than anyone who should remember and never disregard the 2009 tragedy.
Castillo is now based in the United States and her family is still waiting for Momay's death certificate, but even that may not be enough a healing point as other victims' families will know.
"58th" shines a light on how journalists can be caught in the middle of political tensions even when they should be treated as neutral parties. They remain at risk of persecution or danger for simply reporting facts and truth.
Only time will tell whether Papa's new movie will find life in the Philippines outside of Cinemalaya, just as time will tell if the injustices of the Maguindanao Massacre will be etched in memory.
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