REVIEW: Hilda Koronel exceptional in Sisa
Eugene Domingo and Jennica Garcia also give outstanding performances.
By Mark Angelo Ching
Jun Robles Lana is back in top form with Sisa, his new historical drama
that’s akin to his best work, Barber’s Tales.
Its story is a powerful reminder that history isn't just a record of men
on the battlefield.
It is also written by women who fight their battles in the shadows of
society, proving that the most profound revolutions often begin with the
courage to survive.
The movie begins when Sisa (Hilda Koronel), a mysterious woman who is
not of sound mind, sneaks into a concentration camp during the American
occupation of the Philippines.
There, she meets the women who were enslaved by the American military,
just because they are related to men who are members of the resistance.
The women hesitate to accept Sisa into their fold, regarding her as just
another mouth to feed.
However, the film soon reveals a compelling layer of storytelling:
Sisa’s insanity is a calculated ruse.
SISA: CAST PERFORMANCES
Hilda Koronel is exceptional in this role, portraying Sisa as a
double-crosser who weaponizes her perceived madness to gain access to the camp
and coordinate with the prisoners.
Her performance is magnetic because of this duality. It easily sits
alongside her legendary work in Insiang (1976), Maynila Sa Kuko ng Liwanag
(1975), and Kung Mahawi Man ang Ulap (1984).
Her presence is immediately magnetic, even from the very first second.
The supporting cast is just as strong.
Eugene Domingo as Delia and Angellie Sanoy as her daughter, Nena, share
a tragic story that really tugs at the heartstrings.
The climax of their story also had us on the edge of our seats.
Then there is Jennica Garcia as Leonor, a widow who survives by staying
close to an American general.
While the other women in the camp look at her with distaste, her journey
toward self-acceptance is one of the most moving parts of the film.
Kobie Brown is the most surprising.
The Kapamilya newbie plays a soldier named Smith, a stand-in for
colonizers who charm women into submission, only to leave them dry in the end.
The role masterfully balances romantic charm with a simmering intensity,
representing the insidious nature of colonial abuse.
Given Kobie’s low profile since departing Pinoy Big Brother five years
ago, his acting prowess is a remarkable revelation.
SISA: CINEMATOGRAPHY
Aside from the performances, Sisa also excels in its technical aspects.
Carlo Mendoza’s cinematography makes the world feel expansive, while
Lawrence Ang’s inventive editing keeps the suspense tight.
The ending, however, may feel a bit lacking.
After a two-hour runtime that meticulously builds the villainy of the
American oppressors, the film concludes on a will-they-or-won't-they
cliffhanger.
And rather than providing the visceral satisfaction of seeing the
colonizers get their comeuppance on screen, the antagonists are largely handled
in the background.
A more definitive resolution—perhaps a final, climactic confrontation or
a clearer shot of the survivors' escape—could have provided the closure needed
to match the film's otherwise high stakes.
Beyond the performances and the technical sheen, Sisa delves into a
profound thematic insight: that the greatest strength of the marginalized is
their unity.
The film argues that when these women finally resolve their internal
differences and band together, they become an unstoppable force.
It is a study on how collective trauma can be forged into a weapon of
resistance.
VERDICT
Overall, Sisa is a strong entry in Lana’s filmography.
Since it focuses so heavily on the power of women fighting back against
abusive colonizers, it is the perfect movie for Women’s Month.
It is a compelling, honest look at a dark part of history that manages
to be both a deep character study and a suspenseful drama.
Sisa is now showing in cinemas nationwide.
PEP.ph: REVIEW: Hilda Koronel exceptional in Sisa - https://www.pep.ph/news/local/191220/review-sisa-a738-20260304
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