The restoration of the 1999 film “Muro-Ami” by director Marilou Diaz-Abaya comes at a time when the flawed and fragile male ego has never been more visible.
This film completes Diaz-Abaya’s second unofficial trilogy, which centers on flawed male authorities. Alongside “Muro-Ami,” the trilogy includes the 1998 historical epic “Jose Rizal” and the 2001 socio-political thriller “Bagong Buwan.”
Cesar Montano took the lead role in all three films.
Both writers of the trilogy, National Artist for Film and Broadcast Arts Ricky Lee and UST alumnus Jun Robles Lana, shared the screenwriting duties for these films. Lee and Diaz-Abaya were both honored with the National Artist title in 2022.
Reflecting on this body of work, Lana sees “Muro-Ami” as a representation of Diaz-Abaya’s core values.
This film also represented the third collaboration between Lana and the late director.
Lana credits these collaborations as the “foundation” of his filmmaking career, highlighting their importance in his journey.
“When I finally had the resources to go study filmmaking overseas, na-bore ako. Hindi ko pinasukan ang mga klase ko sa Melbourne. Because ang dami ko na palang natutuhan kay Direk Marilou,” Lana said in an interview with the Varsitarian.
“Ang dami kong natutuhan about how you make movies not just for yourself, but you make movies because you are being a responsible Filipino storyteller,” he added.
In addition to its focus on hubris, Diaz-Abaya used the film to highlight the destructive muro-ami fishing method, which degrades habitats. The method involves wrapping a huge net around coral reefs, with fishers pounding on the formations and rocks to draw out the fish.
The film portrays the real experiences of child divers, historically employed in muro-ami practices.
The film is considered an enduring classic by Lee, who cites its “cyclical” nature in presenting human dilemmas.
“Because the same problems, nag-cyclical, umuulit-ulit, parang problem ng poverty, problem ng kailangan magtrabaho maski pinakabatang miyembro ng pamilya, kasi kailangang mabuhay… I think these are issues and questions and concerns na up to now ay questions na nasa mind pa rin ng lahat ng tao,” Lee told the Varsitarian.
Lee expressed hope that viewers of the restored film would gain insights into the Filipino experience.
“It’s always good na napapanood natin ulit [ang] restored versions nu’ng mga pelikula before, dahil ibang-iba yung sitwasyon ng lipunan noon at ang sitwasyon ngayon,” Lee said.
“Ang karanasan na pinapakita ng “Muro-Ami’ ay karanasan ng mga Pilipino at ng lipunang Pilipino,” Lee said.
“Muro-Ami” was digitally restored and remastered by GMA Pictures.
