As September came to a close, I found myself looking for something to do during a brief downtime. It was then that a few posts from friends online reminded me that this year would have marked Filipino filmmaker Ishmael Bernal’s 86th birthday. In a seemingly autopilot reaction, I grabbed my copy of Bernal’s 1980 film Manila by Night (also known as City After Dark), turned off the room lights, and pressed play.
The film’s bold portrayal of urban life, complete with its gritty realism and unflinching social commentary, challenged the prevailing narratives and sparked intense debate about freedom of expression during an oppressive regime. In fact, the change in the title of the film was thanks to then-First Lady Imelda Marcos, who demanded the change and that the film be banned for export, believing that the film gave her city a bad name.
Too bad for her, I guess. Forty-four years later, the masterpiece still holds its ground as a timely critique of societal inequities, where corruption, poverty, and exploitation still remain pervasive.
For his part, Bernal was never the type of filmmaker to shirk away from making films others would consider transgressive. Nonetheless, his boldness came to the fore through films that often served as a critique of the sociopolitical landscape in the Philippines, particularly during the Martial Law period under Ferdinand Marcos. From his films like Nunal sa Tubig (A Speck in the Water) and Himala (Miracle), Bernal relied on nuanced filmmaking to address the struggles of ordinary Filipinos, reflecting the harsh realities of their lives under an authoritarian regime.
With Manila by Night, Bernal tears down any facade, instead providing a realistic glimpse into the complex and often dark aspects of Manila society. Indeed, the filmmaker presents the film as a mosaic of interconnected stories featuring a diverse cast of characters from various walks of life. Collaborating with Ricky Lee on the screenplay, Bernal sought to reflect different societal issues through each character, addressing themes such as poverty, corruption, and prostitution. In doing so, the film’s strength lies in its unflinching portrayal of the harsh realities faced by its characters.
Alex (William Martinez), a schoolboy who works as a folk singer at night, keeps his queerness a secret while struggling with drug addiction. As he spirals deeper into his addiction and explores his sexuality, Alex receives guidance from Manay (Bernardo Bernardo), a gay couturier who harbours unrequited love for the young man. Bea (Rio Locsin), a girl who is blind and works as a masseuse, is best friends with Kano (Cherie Gil), a lesbian junkie who regularly supplies her with drugs to get high. A naïve girl from the province named Baby (Lorna Tolentino) falls in love with a sleazy taxi driver who ultimately gets her pregnant, all while he has a family of his own. Meanwhile, the taxi driver’s mistress, Adelina (Alma Moreno), works as a prostitute but disguises her profession by pretending to be a nurse at a hospital.
With these multiple storylines, Bernal zeroes in on the glaring social and economic disparities among his characters, sometimes transitioning seamlessly and at other times in a jarring manner. Manila by Night explores both affluence and poverty, highlighting how the themes of corruption and moral decay perpetuate inequality — especially during a time in the country’s history when the government claimed to have successfully ushered in a ‘golden age.’
These interweaving narratives, however, share a common thread: that of loneliness, disillusionment, and desperation, and how even the most indomitable human spirit can get drowned out by a city’s dark and chaotic underbelly. And while his characters have their fair share of personal struggles and aspirations, Bernal nonetheless manages to walk the tightrope that separates compassionate and honest storytelling. Manila by Night shows that, even in this unforgiving metropolis, a handful who aimlessly wander in search of light after dark won’t stop until they eventually find it. As Kano succinctly puts it, “Sakay lang ng sakay. Kung hindi, maiiwan ka.” (“You need to keep up, or else you’ll get left behind.”)
When the movie was released in 1980, controversy immediately ensued. The film debuted at the height of Marcos’ dictatorship, and during that time, even the slightest criticism of the powers that be could spell the difference between safety and peril for artists and intellectuals. With films by Lino Brocka, Mike De Leon, and Bernal himself offering sharp social critiques, a government so determined to showcase only the beauty of the nation’s capital suddenly faced a significant challenge to its agenda, threatening to undermine its branding.
Buoyed by Sergio Lobo’s camerawork and Augusto Salvador’s dynamic editing, Manila by Night captures the raw energy of the city, immersing viewers in its bustling streets and dimly lit corners. Lobo’s cinematography boasts an intoxicating atmospheric aesthetic, amplifying the squalor that effectively enhances the film’s narrative. Salvador’s editing work deserves praise as well, considering how the multiperspectivity can become too convoluted to follow, even with such a realistic backdrop.
Celebrated for its powerful storytelling and compelling performances, Manila by Night provides a poignant glimpse into the lives of those who wander through the darkness of the city, searching for hope in the midst of their individual battles. When the smoke clears, Ishmael Bernal’s masterpiece stands as a landmark in Philippine cinema, both for its artistic merits and sociopolitical relevance to this day.
I can only wonder what other kinds of stories he might have told had he been alive today.
