Philippine Cinema: The Power of Sex and Women

Scorpio Nights (1985)

SEX - a three letter word that catches everyone’s attention in just a second. Sex and nudity may look “green” to the norms of the society, but it undeniably one of the fast selling and most trending theme in films. To some, sex films may be immoral and unethical, but to others such films are more than just for pleasure and entertainment. This blog is not going to discuss about sexuality, but rather trace the history and further discuss topics on sex melodramas on Philippine cinema.

Sex melodrama is a film genre that goes beyond Laura Mulvey’s “male gaze” theory. It emphasizes nudism as a way for women to express their sexuality and to celebrate their beautiful bodies through the act of giving pleasure. Contrary to Mulvey, women aren’t just sex objects and totally powerless but are seen as the active movers of the story. Women are often seen as victims, but sex melodramas go beyond this concept. Instead, women use circumstances to become better and to withstand the circumstance. Sex melodrama therefore is dissimilar to mainstream Filipino films which often see women only as sex workers, pathetic and disgusted with themselves.

Philippine sex films developed in the late 60’s to early 70’s. With the influence of sexual revolution from United States and Europe in the late 1960’s, Hollywood played a huge role on leaving an impact in Filipino films. Historically, 1970’s was the year when Martial Law took over the Philippine government. With that being said, Marcos signed Letter of Instruction No. 13 on September 29, 1972, approving censorship and banning of violent or pornographic films. This began the death of sex melodramas in the Philippine scene. However, it was revived on the year 2000 after American singer Tom Jones released his hit song “Sex Bomb”.

Viewing women as the protagonists, the sex melodrama studied how female sex workers used Michel Foucault’s perspective that “the body becomes a metaphor for individual freedom” (History of Sexuality). “Technologies of the self” is used by women to survive their situations. With their body as their capital for living, it is their protocol to take care or their health especially their bodies.

Morally speaking, sexual workers are out of the society’s norms, which is why the Philippine society agreed to the banning of sex melodramas. However, it would be a lot better if the authorities approve of not censoring or banning such films. As films could bridge the gap between the powerful and the powerless, social awareness would take effect among the people regardless of social status.

Thus, Philippine sex melodramas aim to go outside of the box. It breaks the conventional analysis on female protagonists portraying the role of a sex worker. Instead of seeing weakness among women, it sees women self-empowerment through their bodies and sexuality.

Examples of Philippine Sex Melodramas:

1. Uhaw (1970) 
2. Scorpio Nights (1985)
3. Burlesk Queen, Ngayon (1999)
4. Tikim (2000)