Carlos Siguion-Reyna's feature film debut Misis Mo, Misis Ko (Viva Films, 1988) mediates on the value of sincerity and honesty in relationship. Amado (Edu Manzano) and Rebecca (Dina Bonnevie) are not fully reformed or flawless people and they navigate clumsily through this journey together, deliberately expressing their feelings however uncomfortable, jealous, curious, angry or simply thrilled they feel. Misis Mo, Misis Ko is a comedy of manners, after all, and the awkwardness of their initial fumblings is the source of much of the film’s comedy. What they eventually come to realize, however, is that their attraction does not in any way diminish their love for one another. Denying exploration of this attraction is a stance that is firmly ingrained in society and pushing against it comes with plenty of backlash, but ultimately choosing to live by whatever rules make sense for you and your partner is the real key to a healthy relationship, regardless of whether or not it fits into someone else’s worldview. Amado and Rebecca end up finding even greater happiness as they unlearn their previous worldviews and embrace open and honest communication for one another. Amado and Rebecca do have to talk through feelings of jealousy and confusion with one another making the movie a very honest portrayal of a relationship that has transcended jealousy.
Misis Mo, Misis Ko also follows Rafael (Ricky Davao) and Cynthia (Jackie Lou Blanco) who find themselves rapidly unraveling at the seams. The movie allows its characters to speak to each other highlighting difficulties that are so rarely talked about for women and couples and how challenging it can be to override the feelings that are so presently reinforced by culture. Bonnevie's Rebecca never loses the earnestness in her intonation with a disarming maturity that tells more about her faculty if given time to mellow. Manzano exerts his charm eloquently and a hirsute Davao impresses with a patina of self-awareness. But the film's biggest asset is the transcendent Blanco. Her Cynthia is arguably the most conventional and relatable character among the four and she gives a galvanizing, uncompromising thrust that grants first-timer Siguion-Reyna’s boundary-exploring dramedy some thumping heartbeats. The juxtaposition of these two couples seems to suggest a value judgement on Siguion-Reyna's part, many couples attempt to hide or bury feelings and thoughts that they find guilt-inducing or unspeakable. The four finally recognize by the end of the film that denying love for others is useless and they allow unspoken feelings to be laid out fully on the table. Siguion-Reyna has his actors in uncomfortably long takes. When the same exercise is presented at the ending, however, their gaze feels like a warm embrace, bringing the arc of the film (and therefore its message) full circle. We need to really see each other and seek genuine connection with whoever we feel a connection with.
Production Design: Charlie Arceo, Leo Abaya
Director of Photography: Manolo Abaya
Sound Supervision: Rolly Ruta
Film Editor: Jesse Navarro
Musical Director: Ryan Cayabyab
Screenplay: Bibeth Orteza
Directed By: Carlos Siguion-Reyna
