BY HERMAN M. LAGON
The power of the film lies not just in the story it tells but in the voices it echoes. “Ang Mga Alingawngaw sa Panahon ng Pagpapasya” (Echoes in the Midst of Indecision) is one such film—a window into the depths of human choice, bravery, and the quiet wars fought within the Filipino household during one of the country’s darkest times. This movie, featured in one of our recent Peace Consciousness Month sessions in ISUFST, is not just a narrative of a family caught between ideology and survival; it portrays how the political is ever-present, even in the most personal spaces.
The 23:23-min short film’s backdrop is the infamous “Bagong Lipunan” era, a time when the weight of dictatorship bore down on every Filipino family. Red, the film’s protagonist, grows up with the usual struggles of a boy in a middle-class family. But unlike the typical coming-of-age story, his life is fraught with political turbulence. His mother’s revolutionary leanings conflict with his father’s desire for a quiet, apolitical life. This familial rift mirrors the larger schisms in society at the time—a nation divided between those who fought for freedom and those who believed in staying silent for safety’s sake.
The weight of activism has shifted in a generation that thrives on freedom—where one can post criticisms against the government without fear. For many, the People Power Revolution, which overthrew Ferdinand Marcos Sr., seems like a distant dream. Yet, “Echoes in the midst of indecision” breaks through this bubble, reminding viewers of when fighting for basic human rights was a matter of life and death. The contrast is striking, and the film succeeds in stirring dormant conversations about tyranny and the price paid for democracy.
The storytelling of “Alingawngaw” is nothing short of masterful. Focusing on the dynamics within a Filipino family adds an intimate layer to the historical narrative. We often hear stories of the big players—the activists, the generals, the political figures—but seldom do we zoom into the micro-level where these decisions are made over dinner tables, in hushed tones, or through tense silences between spouses. This film thrives on that tension, exploring the ideological battle between its characters and the emotional struggles each family member faces.
As a movie critic, I value how the film’s low budget does not lessen the impact of its message. Intentionally and successfully, the rawness of the storytelling offers a quality masterpiece. The film does not need flashy effects or grandiose scenes to make its point—its simplicity is its strength. It trusts the audience’s intelligence, banking on the fact that they will understand the layers of complexity beneath each dialogue, each decision, and each scene. Alessandra de Rossi and Micko Laurente’s performances further ground this narrative in reality. Their portrayals of conflicted, flawed characters add to the richness of the film, making it not just a historical piece but a deeply personal one.
Yet, its unabashed commitment to the truth sets this film apart from others in its genre. The depiction and involvement of Marxist and socialist movements in toppling the dictatorship is not watered down. The film embraces this historical truth, refusing to avoid controversial topics. It presents them as they were—a significant part of the anti-dictatorship movement. This is not revisionism; this is a reassertion of history as it happened.
The movie also emphasizes how important women were to the resistance. Red’s mother, Nita, is a subdued presence. She is representative of the many women who spoke out during the revolution and refused to bow to social pressures. Old ideas about gender roles in political struggles are challenged by the film’s portrayal of her as a revolutionary and a mother. Studies have disproved the stereotype that men dominated political movements by demonstrating women’s crucial roles in grassroots activism and leadership during the martial law era (Mananzan, 2019).
As someone who has spent decades reflecting on the socio-political dynamics of the country, I am reminded of how the nation’s political or personal struggles often boil down to our choices. These choices, as the film suggests, are rarely black and white. They are gray, complicated, and usually made under duress. The film asks us: What would you have done in Red’s mother’s shoes? Would you have fought, knowing it might put your family at risk? Or would you have stayed silent, hoping that survival was enough?
In drawing these parallels between the past and the present, “…Alingawngaw sa Panahon ng Pagpapasya” forces its viewers to reflect on their own roles in today’s society. Have we become too comfortable? Too complacent? The film challenges us to reconsider our own definitions of activism, vigilance, indifference, and complicity. After all, silence, as many have said, can be a form of betrayal.
The beauty of this film is that it does not preach. It simply presents a story—a reflection of a time when the lines between right and wrong were blurred by fear, love, duty, and survival. It offers no easy answers, only hard questions. In that sense, it embodies a fundamental principle we often hear in reflective spiritual practices: the need for discernment. There are no simple paths in life; our decisions are based on our understanding of truth, love, and justice.
As educators and lifelong learners, especially those who teach and learn history or social sciences, this film becomes indispensable for sparking critical discussion. Students today, born into a world where the Marcos dictatorship is often romanticized or reduced to textbook chapters, need to grapple with these realities. They need to see, hear, and feel the echoes of decisions made in the past—decisions that continue to shape the fabric of our democracy today.
“Ang mga Alingawngaw sa Panahon ng Pagpapasya” is not merely a historical drama. It captures a time when every decision, no matter how small, had a significant impact. It emphasizes how crucial it is to preserve historical memory in all of its complexity rather than romanticizing or misrepresenting it. It is a reminder that the decisions we make as a society and individuals have far-reaching effects.
For the current generation, this movie is both essential and urgent. At this point, the lessons learned from the past can lift us toward a more just and empowered future or be swallowed up by apathy and ignorance. The choice, as always, is ours.
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Doc H fondly describes himself as a “student of and for life” who, like many others, aspires to a life-giving and why-driven world grounded in social justice and the pursuit of happiness. His views do not necessarily reflect those of the institutions he is employed or connected with.
