Masaklaw ang abot-tanaw ng sine. Hindi lamang ito ang temang kinukulayan ng ideolohiya. Ang sine ay isang produksiyon ng karanasan at isang makulay na pagsaharaya ng tao sa sandali at lunan ng kasaysayan.
Achievements in film work is drawn not to forge a cannon of best works as underpinned by formalist considerations, but to pinpoint certain strategic transgressions and tactical countervailing in Third World cinematic practice and discourse.
Ang pelikula ay bisyong nagbibigay ng sensitibo at matalas na atensiyon sa presentasyon at representasyon upang sa proseso nito'y mabigyan ng bagong ayos ang mga posibilidad ng pelikula bilang isang progresibong sining at kulturang popular. Pinakikilos nito ang modo ng pagpapahayag ng pelikula sa reyalidad sa konteksto ng kakayahan nitong makipag-usap sa malawak na manonood at pukawin ang buhay ng publiko. Naaangkin ang institusyon at praktika ng sine para itaguyod ang kapangyarihan ng midyum at ang sulong na interes.
Apart from the stupefying contribution of overzealous guardians of public morality among members of the Board of Censors for Motion Pictures, other factors have made Nympha (Regal Films, Inc.) a landmark of sorts in the history of contemporary Filipino movies. Nympha has given Regal Films its first certified box office hit for 1980. Also, no other Filipino film in recent memory has been given such thorough coverage in media, a phenomenon in itself considering that outside of the showbiz magazines and television talk shows, local movies hardly get enough unpaid notice in broadsheets and primetime programs. Nympha has also catapulted star Alma Moreno as an actress lauded no longer for her candor but for her potential in dramatic roles. Lily Monteverde, the Regal matriarch wondrously succeeded in raising the issue to the level of principle, it was a struggle for freedom of expression which the Marcos dictatorship curtailed. Joey Gosiengfiao from Regal's stable of directors will henceforth be identified as the filmmaker who has made sheer boldnessvisually accessible in a mainstream Filipino movie. By itself, this is not what constitutes artistic achievement, but the distinction is significant, for it has advanced in no small way the struggle to disengage the Filipino film from the holy clutches of the BCMP who do not seem to have any concept or context when they find in a film a detail that deviates from the proscription of traditional moralism. Combined with an eye for the incongruous and a feel for the ironic, this pictorial sense makes for movie making that holds our interest, not so much because he has a story to tell, but because he allows us to observe people and events as these have eluded our senses as we live through the day. Gosiengfiao has learned how to win over the traditional audience for Filipino films and more importantly, how to handle the the obligatory sequences in Filipino melodramas with taste and restraint. In Nympha, taste and restraint are the redeeming virtues of this genre film about a young woman's search for dignity and affection. Both qualities are especially evident in the scenes made notorious by the obsessively numerical concern by certain board members over the frequency of characters making love.
Screenwriter Toto Belano had been an engaging writer of numerous Regal produced melodramas. In the scripts he's done, characterization has always been a strong point. As the narrative progresses, Belano invents details that unfold a personality subjected to pressure from her immediate environment and the social milieu. In Nympha he went minimalist in focusing on the simple story of a young woman who commits the error of daring to hope for redemption in love. To date Nympha and Marcial are Belano's most sympathetic principal characters, contrasting types that have been given flesh and blood by Alma Moreno and Alfie Anido in his first starring role. The woman cynical but vulnerable, the young man impulsive, naive and ultimately, uncomprehending. The straightforward plot is formulaic, but Belano's sense of irony refuses the temptations of sentimentality, giving Gosiengfiao's film a certain solidity through secondary characters played by Ricky Belmonte as Alberto, the confidante, Rosemarie Gil as Carmen, the stepmother and Orestes Ojeda as Danny the psychiatrist. The success of Nympha is a personal triumph of Alma Moreno who, by virtue of her performance as Nympha Monteverde is the threshold of joining the rank of serious actresses in Philippine movies. Without discounting the help of a producer who moved the world of media, culture and the arts to transform a bold star into a dramatic actress, of a director whose innate good taste guided him in handling her delicate scenes, and a scriptwriter whose lines and motivations made it easy for one who is essentially a neophyte actress to be believably both hard and tender, Alma Moreno must be credited with the spunk and sensitivity that made Nympha Monteverde a character the moviegoers would care about. Her acting is luminous because it is unaffected, drawn from a sensibility that is fresh and candid. One shortcoming Moreno has to overcome if she is to aspire for greatness in the company of such dramatic actresses as Nora Aunor, Vilma Santos and Hilda Koronel however, is the flatness of her voice and an intonation pattern lacking in nuance. For that she would need a proper voice coach. That she was able to create a memorable human being out of her role is proof enough that she has what it takes to be a fine actress. As a fresh talent, Alma Moreno would do well to learn to mine and manage her emotional and intellectual resources wisely in undertaking roles for other producers, directors and scriptwriters.