And why should films speak for the masses? Padamlagan has the answer.

Ang artikulong ito ay para sa mga nahanap at patuloy pa ring hinahanap.

Hinding-hindi na tayo pipikit at makalilimot.

With a combination of actual photos, documentation, and real-life experiences of people who were involved in the tragedy of the Colgante Bridge collapse, Padamlagan sets a new impression in the world of independent films.

Padamlagan or Night Light is a Cinemalaya 2025 entry directed by Jenn Romano. It follows the fictional story of Doring, a father who is forced to search for his missing son. Featuring an all-Bicolano cast led by rock icon Ely Buendia, Sue Prado, Floyd Tena, and Esteban Mara, the film sheds light on a dark incident that was buried under the media blackout during the Martial Law regime of former President Marcos Sr. With only two surviving headlines about the tragedy, Romano was not discouraged. Instead, she believed that this film would spark new hope and serve as a light to keep the story alive—to commemorate the lives lost and ensure they will never be forgotten as Padamlagan screens.

The film’s lens work, storytelling, and subtle approach to emotion mirror the beauty of simplicity. Despite not being heavy on dialogue, the message remains clear—expressed through the eyes, the sighs, the trembling hands, and the simplicity of actions. The underlying plea resonates not only visually but emotionally, reaching deep into the hearts of viewers. It opens one’s consciousness to regional histories that are rarely discussed and are often left with few references or sources to learn from.

This film possesses its own unique beauty. It wasn’t screened at Cinemalaya merely because of its cast but because it tells a story that deserves to be remembered—a tragedy that happened in 1970, one that even generations of Bicolanos after the incident have little to no recollection of.

“Filipinos don’t like to dwell on tragedies like that. Especially in a regional disaster, they’d rather bury it than remember it.” words by Ely Buendia.

To give more justice to the archival stories from the witnesses, victims, and survivors of the tragedy, the production design excellently immerses viewers into the life of Doring and realistically portrays the people of Naga. As Jeric Delos Angeles of Padamlagan won Best Production Design on October 12 at Cinemalaya 21: Layag sa Alon, Hangin at Unos, it speaks volumes about how the film succeeded in emphasizing truth and remembrance.

The film’s technical proficiency is remarkable, from the editing, color grading, cinematography, to the sound design. Each element feels perfectly placed, framed, and fitted to give the film its soulful take. Every shot is filled with emotion, deliberately crafted with thought and care.

The structure and style of the screenplay are commendable. The dialogues add depth and authenticity, allowing the lines to resonate with audiences anywhere and anytime. This is more than just a father-son story—it encompasses friendship, activism, religion, press freedom, and political issues that remain relevant today.

If there’s a highlight in terms of technical excellence and acting, it’s the delicate execution of the mirror shots. These reflections not only show physical imagery but also reveal inner emotions and unspoken stories. They evoke multiple themes and truths. Kudos as well for portraying the real suffering of the masses, because it is not only the dead who are ignored but also the living, as if the marginalized have no place in a society ruled by an idealistic and detached government.

“Dahil wala silang pakinabang sa inyo, hindi niyo na tutulungan?”

“Milagro na kung kikilos nang mabilis ang gobyerno.”

The film portrays many realities—the powerlessness of a man, a father’s struggle to process grief and express emotions, the hardships of the poor and the forgotten, and the unresolved pain that the ending leaves behind. It gives space for reflection, for feeling, and for carrying the weight of its story as a collective fight for justice.

To think of it, Padamlagan is one of the most socially relevant films today. How ironic that during Marcos Sr.’s regime, a substandard bridge caused the deaths of many—and decades later, under Marcos Jr., there are reports of scam flood control projects. The film serves as a reminder to never forget, to always remember, and to never let history repeat itself. There is a cycle to break, and it starts with seeing and hearing the stories of ordinary people—because those are the most sincere stories, the ones that cut the deepest.

The film ends with a black screen—no answer if Ivan, Doring’s child (played by Esteban Mara), is still alive or if it was his body found cold and muddy. This symbolizes how Martial Law buried the stories of the Colgante Bridge—drowned, dried out, and erased from memory.

And if the film won’t speak for the masses, who will be the storyteller?

Well, Padamlagan surely did.

It stands as a light in Cinemalaya—a film that speaks for the masses, that tells their stories, especially in a regional setting. Because every single name, every Doring, every Ivan, matters.

And we can never, ever forget them.

writer’s note:

personally, to write this article is somehow familiar and home-y to me as I also have roots planted in Bicol (my mother's side) specifically in Camarines Sur. that’s why I was really excited when I read that this a film made and composed by Bicolanos.

indeed, a Bicol pride. 

Article: Juliene Chloe Pereña

Illustration: Justine Ceniza