International Cinephile Society: Review: Sisa (Jun Robles Lana)

 

International Cinephile Society: Review: Sisa (Jun Robles Lana)

Nicol Latayan

March 17, 2026

 

“Like a dish left to simmer before being served, the film is patient, waiting for the perfect moment before it raises the stakes.”

 

Probably one of the most notable characters in Philippine literature is Sisa from Noli Me Tangere by José Rizal. Driven by extreme poverty and the hopelessness caused by the disappearance of her sons, Sisa descends into madness and is often seen wandering around town in search of them. Jun Robles Lana’s latest film of the same title isn’t about the novel’s character; instead, he reimagines her by writing a complex female figure dealing with a different type of madness.

 

Set in 1902, in the aftermath of the Philippine-American War, American forces control local civilians by placing them in different concentration camps to separate them from rebellious groups determined to fight against the American presence in the country. A woman appears out of nowhere, wandering through the village and looking unthreatened even when confronted by an American guard. She does not know her own name and is eventually called Sisa — arguably the name given to any madwoman in Philippine culture. The women in the camp gradually take her in and she helps them with their daily activities.

 

However, the film does not focus on teasing what drove Sisa to madness. It is eventually revealed that Sisa’s madness is simply an act. To avoid drawing attention to herself while plotting revenge, she pretends to be a harmless madwoman. Quietly and methodically, she moves pieces into place as she crafts the perfect comeuppance against the American conquerors, together with the other women in her barrio.

 

There is a certain restraint you feel while watching the film, which seems like a deliberate directorial choice from Lana. At times it feels extremely claustrophobic, as we watch these women go about their daily tasks inside the camp while being controlled in every move they make. But like a dish left to simmer before being served, the film is patient, waiting for the perfect moment before it raises the stakes. It is precisely this patience that makes the last act particularly satisfying.

 

The veteran Hilda Koronel essentially comes out of retirement for her first feature acting role in 14 years, and it is easy to understand why this material served as her comeback. She portrays the titular character with a balance of grit and grace, her eyes channelling both the pain and rage of her situation as well as the courage and conviction needed to carry out her plan. It even brings to mind someone like Geraldine Page in The Beguiled, especially once the final act kicks in.

 

Twelve years ago, Lana wrote and directed Barber’s Tales, and in a way, Sisa feels like its spiritual companion. Both films place women front and center, with the lead characters taking matters into their own hands in a broken society that constantly tests them. It is also fitting that this film is being released during International Women’s Day season. Sisa is by no means a perfect character, but it is satisfying — and admirable — to see how she takes control of her own narrative. After all, nothing is more dangerous and impactful than a woman willing to do whatever it takes to claim her identity.

 

Link: https://icsfilm.org/reviews/review-sisa-jun-robles-lana/

 

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