RAYMOND RED’S first entry in the Metro Manila Film Festival is not holiday fare. “Manila’s Finest” is a period crime drama that resists spectacle, choosing instead to examine corruption as a slow, corrosive force—one that seeps quietly into institutions.
Set against the backdrop of rising social unrest in the years leading up to the declaration of Martial Law, the film situates its story in a Manila on edge. The atmosphere is tense but restrained, mirroring a society inching toward authoritarian rule as abuses of power become increasingly normalized.
At the center of the narrative is police officer Homer Magtibay, who finds himself caught between rival forces within law enforcement—his own unit, “Manila’s Finest,” and the formidable PC Metrocom—while a string of murders unfolds in the city’s slums. The struggle is less about solving crimes than about navigating shifting loyalties and moral compromise.
Despite projecting an image of uprightness, Magtibay is no stranger to the same failings that plague police officers.
As the narrative progresses, these ills become increasingly pervasive, reflecting the present times.
UST alumnus Piolo Pascual is wholly convincing in his performance of Magtibay, a man troubled by conflicting ideals and faced with ominous threats.
He is supported by Enrique Gil as Billy Ojeda, a fellow officer whose refusal to tolerate systemic rot offers a stark counterpoint to Magtibay’s wavering resolve.
Ashtine Olviga appears as Agnes Magtibay, an anti-imperialist activist whose convictions place her directly in the path of state violence. Her role underscores the personal cost of dissent, while also reinforcing the film’s insistence that political turmoil spares no family.
These performances are enough to keep viewers engaged, despite the pace being slower than usual for an MMFF entry.
Its leisurely pacing, however, is reminiscent of corruption’s subtle infiltration into an already decaying institution.
Viewers are also given sufficient time to bask in sepia-tinged Manila. Production designer Digo Ricio’s depiction of early 1970s Manila successfully evokes political instability and its resulting disarray in a Manileño’s way of life.
Serving also as cinematographer, Red’s affinity for lingering shots allows discomfort to seep in, prompting internal reflection among viewers.
Together with Moira Lang and Sherad Anthony Sanchez, UST Computer Science alumna Michiko Yamamoto again delivers a screenplay that has a solid grasp of the intersection between past and present.
Despite the absence of explicit mentions as regards Philippine political history, the screenplay crafts a compelling narrative that provides enough for audiences to fill in the blanks. This goes to show that the creators and the film itself have trust in their audience.
The film’s lack of explosive confrontations or loud declarations may prove frustrating for viewers. However, its absence is a testament to how corruption operates in real life. It does not call attention to itself, nor does it announce its presence, but it is felt once it has finally arrived.
While the film does not provide clear resolutions, it provides enough to ponder over the holidays.
The film won trophies for 3rd Best Picture, Best Cinematography, Best Original Theme Song, Best Sound, Best Musical Score, Best Production Design, Best Float, and the Gatpuno J. Villegas Cultural Award.
