Although Lino Brocka’s Bona (NV Productions, 1980) might seem like an unlikely place from which to launch a discussion of the craft of one the great Filipino actors, it illuminates several threads that run through Nora Aunor’s body of work. Foremost is her adaptability and range as a performer, which are unparalleled. Bona also demonstrates the centrality of collaboration to Aunor’s practice and the rigorous preparation that facilitates her singular spontaneity and openness to chance in the moment of performance. Her almost otherworldly range has generated certain tropes in reviews of her work: she is said to disappear into the character. But this take, which suggests an innate and natural ability for imitation or even an erasure of the self, doesn’t capture the careful calibrations of Aunor’s craft. Rather than disappearing into her characters, she deconstructs the performance process on screen. Aunor achieves layers of reflexivity, performing the character’s own fleeting performance of the self. Her ability to highlight the incongruities within a character without resolving them is one of her greatest strengths as a performer. Aunor’s face has a striking ability to embody that luminous star power while also cracking it open like brittle armor. As Bona, Aunor draws the camera to herself, seducing us like her mark, even as she tilts her face to give in to Gardo’s (Phillip Salvador) sexual advances. That same face sours when she claims her bitter revenge. Indeed, across a range of characters, Aunor’s carefully tempered expressions bring to the surface an array of subtle revelations and momentary ruptures. Across many projects, Aunor has embraced different facets of her characters, resisting the temptation to explain them. One is left with the impression that for her, anything is possible, a prospect that is at once thrilling and a bit terrifying.
From its opening moments onward, Carlotta Films, Kani Releasing and Cité de Mémoire's new 4K restoration of Bona is a sight to behold, one that leaves a very strong first impression. Far and away, the biggest upgrade here is in the area of mid-ranges and shadow detail and in some cases, clearly boosted contrast levels reveal a more finely-detailed picture, one where many new background elements and small details can be easily picked out. Textures are also granted new life, especially in cinematographer Conrado Baltazar’s tight close-ups and elements of Joey Luna’s art direction. Black levels remain consistently deep with no perceivable crush or posterization, while the tasteful enhancement revitalizes light sources and background signage without compromising any of its darker sections. Film grain is also finely resolved and consistently present, but never intruding. Likewise, the audio mix benefits from its new restoration. Bona’s overall sonic aesthetic still apply here and the soundtrack has been refreshed and tightened, with much of the persistent hiss either reduced or eliminated. Dialogue remains crystal clear - even Aunor’s vocal tones - with suitable balance levels leaves more than enough room for Max Jocson’s original score. It's a fine effort overall and similar to the excellent presentation, there's really not all that much room for improvement here.
Screenplay: Cenen Ramones
Director of Photography: Conrado Baltazar, F.S.C.
Music: Max Jocson
Film Editing: Augusto Salvador
Art Direction: Joey Luna
Sound Engineer: Levi Prinupe
A Film By: Lino Brocka
