‘Jaguar’, Lino Brocka’s 1979 neo-noir classic, returns to Philippine cinemas in a newly restored 4K version as it opens the 7th Sinag Maynila Independent Film Festival.
More than a cinematic homecoming, the screening marks a reckoning with the film’s turbulent birth under Martial Law censorship—and a celebration of its enduring power.
Originally inspired by Nick Joaquin’s ‘Reportage on Crime’, ‘Jaguar’ tells the story of Poldo Miranda (Phillip Salvador), a security guard drawn into the corrupt world of his wealthy employer. But as co-writer Ricky Lee revealed in a recent interview, the film’s final form was a strategic pivot from a more politically charged concept.
“Noong una, ang gusto ni Lino, para masuportahan si Phillip, kasama sa cast si Charito Solis, Hilda Koronel, Chanda Romero, and Snooky,” Lee recalled. “Security guard si Phillip sa bahay ng mayamang si Charito na anak niya si Hilda. Pero sabi ni Lino, ‘hindi ito maa-approve ng censorship board,’ kasi para bang sina Imelda at Imee Marcos ang mag-ina.”
Faced with the Board of Censors’ strict scrutiny—this was before the MTRCB—Brocka, Lee, and co-writer Pete Lacaba revised the story. The final version retained only the security guard premise, stripping away overt political parallels to avoid rejection.
“Nag-isip kami ng bagong kuwento,” Lee said. “Ang natira na lang, ‘yung security guard. Doon na lumabas itong nabuo naming kuwento ni Pete (Lacaba).”
The writing process was deeply collaborative. “Storyline muna ang binuo namin, with Lino’s guidance,” Lee explained. “Brainstorm kami ni Pete, magco-comment si Lino, tapos revise hanggang plantsado.”
Brocka’s directorial style demanded precision. “Very minimal ‘yung revisions niya kapag nagsu-shoot na siya,” Lee noted. “Ang bilin lang niya, ‘gawin n’yong tough sa labas si Phillip, pero very vulnerable sa loob.’”
Even the film’s poster faced censorship. “Ang nasa poster noon, si Phillip Salvador na may baril,” Lee said. “Bawal ang may baril sa posters, unless pintahan ng puti. Ayaw ni Lino, so sabi niya, ‘wala na lang baril.’ Naging final poster namin, nakatayo na lang siya na naka-maong, nakasandal sa pader na may graffiti.”
For Joel Lamangan, who played a reporter in the film, Jaguar was also a testament to Brocka’s commitment to realism. “Ang lahat ng artistang ginamit doon na background ay miyembro ng PETA Kalinangan Ensemble,” Lamangan shared. “Ang training namin kay Lino, isa lang ang sinasabi niya: ‘gawin n’yong totoo!’”
The film’s gritty depiction of Tondo was no set piece. “Totoong taga-Tondo sila! Taga-doon sila sa Smokey Mountain,” Lamangan emphasized. “Noong sinabi ni Lino, ‘Joel, halika, kasali ka,’ sabi ko, ‘saan ‘yan?’ Sabi niya, ‘Jaguar. Reporter ka dito.’”
Restored through the Film Development Council of the Philippines’ Philippine Film Archive and Cité de Mémoire, ‘Jaguar’ premiered internationally at the 16th Lumière Film Festival in Lyon, France before returning to Manila for Sinag Maynila 2025. Its inclusion in the festival’s “Pambansang Alagad ng Sining” section underscores its legacy as the first Filipino film nominated for the Palme d’Or at Cannes in 1980.
Festival founder Wilson Tieng called the restoration “a bridge between past and future,” praising Brocka’s work as “a masterpiece that deserves to be seen in all its splendor—sa pinilakang tabing.” (with reports from Loyd Pino)
