From My Lens: Exploring an uncolonized modern Philippines through pre-colonial roots in ‘The Kingdom’
For many Filipino families, Christmas isn’t complete without the tradition of watching films from the Metro Manila Film Festival (MMFF). From the comedic charm of Vice Ganda to Aga Muhlach stepping into a rare villainous role, the festival consistently draws crowds to theaters. Amid the star-studded lineup of the MMFF’s 50th edition, The Kingdom, stands out for its daring premise.
The movie poses a compelling question: What if the Philippines retained its sovereignty and pre-colonial culture? The film is indeed a feast for the senses and a love letter to the pre-colonial era! Let’s explore five pre-colonial roots that could shape an uncolonized modern Philippines, brought to life in The Kingdom, directed by Michael Tuviera, DGPI, who won Best Director at the 2024 MMFF Gabi ng Parangal. (warning spoilers ahead!)
The rulers of the uncolonized modern Philippines
Every Buwan ng Wika, you may have definitely voted for your Lakan and Lakambini, often choosing students who exude charm, confidence, and poise—much like picking a muse and escort. But did you know these titles trace back to pre-colonial times as “king” and “queen”? In ancient Philippines, a Lakan was a noble ruler, while a Lakambini symbolized grace and leadership.
This rich heritage comes alive in The Kingdom, where Vic Sotto stars as Lakan Makisig, ageing ruler monarch of Kalayaan, a reimagined uncolonized Philippines. So, the next time your class chooses remember—it’s not just about looking regal; it’s more than that!
Having a distinct way of writing in The Kingdom
The Kingdom skillfully combines modern Filipino culture with historical elements, using both Tagalog and English. A standout feature is the use of Baybayin, an ancient pre-colonial writing system. In the film, Baybayin appears on the name plate of Dayana Matimyas, the second child of Lakan Makisig, played by Christine Reyes. The term Baybayin comes from baybay, meaning "to spell." Although it dates back to pre-colonial times, Baybayin is still celebrated and appreciated in a modern Filipino society, serving as a powerful reminder of our cultural heritage.
A clear pre-colonial root for an uncolonized modern Philippines
Before Christianity, ancient Filipinos served their supreme being, Bathala Maykapal, or simply “Bathala”, rather than calling Him "Lord." Bathala was believed to manifest through natural phenomena like floods, fires, and earthquakes. In The Kingdom, this belief is depicted through the baybaylan, a priestess who serves as a mediator between Bathala and Lakan Makisig, advising him on crucial matters, especially during times of calamities or hardship. This portrayal highlights the deep spiritual connection between the people and their faith.
Your class is on your skin
In pre-colonial Philippines, tattoos, or "batok," were far more than just artistic expressions—they served as powerful symbols of tribal identity, kinship, and even social or wealth status. In The Kingdom, the character Sulo, played by Piolo Pascual, stands out for his lack of tattoos as this absence marks him as a banished figure, casting him out of society. Without tattoos, someone is seen to commit a grave crime against the monarch, highlighting how deeply entwined tattoos were with honor and status in ancient Filipino culture.
What if a monarchy rules the present?
The Kingdom presents a fresh take by imagining a unified monarchy in a Philippines that was never colonized. However, during the pre-colonial period, there was no single absolute monarchy but several kingdoms. Each location was considered its own kingdom, with barangays led by datus and larger kingdoms ruled by rajahs or sultans, as also depicted in the film. What if this pre-colonial root happened—how might an uncolonized modern Philippines unfold in this vision?
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