"Mariquina" (Film Criticism): An Allegory for the Rise and Fall, and Potential Resurgence, of the Romualdez-Marcos Dynasty?

"Mariquina" is a testament to exceptional craftsmanship. Every element seamlessly aligns: from its concise screenplay to music that enhances scenes without overpowering them, and from fitting production design to smooth editing and stellar cinematography. Anchored by a powerhouse ensemble cast, the film's ambition may not reach the heights of some independent productions, but therein lies its beauty—it thrives in its intimacy, skillfully encapsulating the struggles of a single family as a microcosm of Philippine society over the past two decades.

At the core of "Mariquina" is Mylene Dizon, whose nuanced performance grounds the film. Eschewing melodrama, Dizon portrays her character with restraint, mirroring the quiet strength of her role. Without her remarkable portrayal, the film wouldn't wield the same impact. The ensemble cast, likewise, delivers impeccable performances, infusing "Mariquina" with depth and drama devoid of sentimentality. Credit is due to director Milos Sogueco and screenwriter Jerrold Tarog, the latter also responsible for the evocative musical score.

Notably, Dizon's character shares a name with the infamous Imelda Marcos, a nod perhaps inevitable in a film centered on shoes—a realm closely associated with the former First Lady. Sogueco doesn't merely allude to Imelda Marcos; he grants her a cameo, a choice initially met with skepticism from some moviegoers. Yet, upon closer examination, this inclusion may serve as commentary. As the real Imelda enters the shoe museum, Dizon's Imelda watches silently, embodying a stark contrast: the extravagance of the past versus the humility of the film's protagonist. Sogueco subtly urges audiences to champion the latter, relegating the former to history.

However, is "Mariquina" an allegory for the rise and fall, and potential resurgence, of the Romualdez-Marcos dynasty? Some cinephiles speculate as much, citing parallels between the film's narrative and historical events. From Dizon's character sharing Imelda's name to the brief appearance of the former First Lady herself, accompanied by a poignant mirrored shot, the film tantalizingly hints at connections. Moreover, its wistful portrayal of a pre-EDSA Revolution era and subsequent decline of the Guevarra family's fortunes adds fuel to the theory. While interpretations may vary, such ambiguity underscores the richness of cinematic storytelling, allowing viewers to uncover their own truths.