For a millennial who grew up on streaming apps and glossy blockbusters, watching Lino Brocka’s 1979 film Jaguar at this year’s Sinag Maynila Independent Film Festival felt like stepping into another world. The festival’s opening film, shown in its restored version, offered both a trip back in time and a reminder of how strongly the struggles of the past continue to resonate today.
The night felt special in more ways than one. I was fortunate enough to see the film alongside its screenwriters, National Artist for Film and Broadcast Arts Ricky Lee and Jose F. Lacaba. Sitting a few rows away from them, I felt like I was watching history unfold with the very people who helped write it. For a first-time viewer like me, it was a rare moment I won’t forget.
At the center of Jaguar is Poldo Miranda, played by a young Philip Salvador. Poldo is a security guard—“jaguar” in 1970s slang from the Tagalog word gwardya—working for his boss Sonny Gaston, played by Menggie Cobarrubias.
After saving Sonny from a jealous rival, Poldo gets pulled into the world of Manila’s rich crowd, serving as a bodyguard and errand boy. But when he falls for Cristy Montes, portrayed by Amy Austria, a dancer Sonny keeps as his mistress, Poldo’s life quickly unravels, leading him into betrayal and tragedy.
Brocka, later named National Artist for Film, told the story with raw honesty. He didn’t sugarcoat poverty or glamorize power. Instead, he showed the harsh reality of Tondo’s slums, where Poldo lived with his mother (Anita Linda) and siblings.
as Cristy Montes and
Philip Salvador
as Poldo Miranda
in ‘Jaguar’
The scenes set in Smokey Mountain, where people lived among mountains of trash, were especially powerful. Even restored in 4K, the pain and desperation on screen hit close to home. Watching them today, I thought of families who still live in the same conditions more than 40 years later.
For Ricky Lee, bringing back films like Jaguar through festivals is vital.
attends the Sinag Maynila screening of the restored ‘Jaguar’
“Old films, the ones supposedly forgotten, are being dug up and shown again to remind us how important they are. Activists and programmers bring them back to life so we can watch them and realize they’re still part of our lives,” he told Manila Standard Entertainment ahead of the screening.
He added that festivals help people rediscover the joy of watching movies in theaters.
“Festivals are like an injection, they bring back energy, create new excitement, and give us a reason to go out and watch in cinemas,” Lee added.
“Without events like this, people will just stay home and watch on their cellphones or YouTube. Festivals make a huge difference,” he explained.
Festivals, he said, also shine a spotlight on older films that still matter. He noted that younger audiences, when exposed to restored works in schools, often react as if the films were just made yesterday.
“You realize that even if they’re old, they’re still relevant,” Lee continued.
He also said that the 4K restoration of Jaguar was personal.
“I haven’t seen it in such a long time. This time I get to watch it not just at home but in 4K and with an audience, and that means so much more,” he said.
The film was also his first credited screenplay, co-written with close friend Lacaba.
“This was basically my first film with my name on it. And it was my first time working with Lino Brocka, which led to so many other projects,” added Lee.
As I walked out of the theater, I carried a heaviness I couldn’t shake. Jaguar may be more than four decades old, but its story still feels urgent. The faces of the poor may change, but the unfair system that crushes them hasn’t disappeared. Watching it with Lee and Lacaba nearby, I felt grateful not only for the restored film but for the truth it still dares to tell.
For my generation, Jaguar is a mirror, showing us that justice remains out of reach for many who need it most.
