Voiceless women of Philippines (and not only) are given a way to shout out about their rights in this assertive short film called “The Sound of Silence” by feminist director / writer / artist Lynn Lim.
The story is set in a rural part of Philippines and opens with a beautiful dawn scene at the heritage site of Eli Rock, in Cebu. Two women are practicing Arnis, the national martial art of the Philippines; their fight with batons resembles a dance, while the voice-over introduces herself as Gabriela Magsayo (Ella Canaveral) and her deaf-mute sister Pepa (Virlie Alfar), and emphasizes the necessity for women to be strong, both physically and mentally. The film continues with the narration of Gabriela's story, held captive and abused by a man first, then about her newly found strength within her family and the community of women and finally – as a survivor herself – her mission to support other victims. The film ends with compelling portraits of tied up and gagged women and a powerful choral admonition to speak out.
Despite the dramatic and very reality-grounded subject matter, the filmmaker stays away from drab realism and imbues the storytelling with many symbolic elements and references to Philippine's history of resistance, and more specifically to the “mothers” of it. A red bandanna is the “fil rouge” (excuse the pun) of women's escape, alliance and empowerment. The character wearing that iconic garment is a heartfelt homage to the revolutionary heroine Gabriela Silang, the first female leader of a movement for independence from Spain, captured and executed in 1763. More inspirations come from Melchora Aquino, the grandmother of Philippine Revolution and finally Josefa Llanes Escoda, advocate of women's suffrage and founder of the Girl Scouts of the Philippines, who was brutally killed resisting the Japanese occupation during the Second World War.
This is a part of Filipino history to be well proud of, and a particularly apt moment to celebrate resistance, as Philippines face a new government but also in a more global context, as many countries around the world over the past few years have been witnessing a turn towards more conservative politics and patriarchal values.
The characters hint to those heroines, the motherly old lady recalls Melchora Aquino, Gabriela, like Silang, wears a red bandanna and her sister Pepa has the nickname of Josefa Llanes Escoda. They form a family that goes further than blood, a sisterhood of warriors, a bond between victims and survivors. I must admit that I had to do my homework to be able to find out all these historic references and they could easily go unnoticed by a non-Filipino audience. Moreover, the non-linear narration doesn't help either. However, the film's righteousness and fighting spirit leave no doubts about the intents. The silent distress on Pepa's face witnessing a domestic abuse is stronger than any word, and yet the voice-over exhorts all women to voice their pain, abuses and inequalities.
The director has been researching the matter with the National Federation of Peasant Women – Philippines, an organization that aims to protect the rights of peasant women, a big defenseless part of the population that is affected by domestic violence and rape. The photography is crisp and realistic, with some softer tones to underline the tender family moments, but the solemn music is the element that strongly defines the combative message of the movie.
All in all, its strong statement and the necessary message make this movie a relevant social work and hopefully a stepping stone for more activist work from the young author.
