The Representation of Poverty in Selected Films of Brillante Mendoza: A Semiotic Reading

Abstract

This paper interprets the works of Brillante Mendoza, a prominent figure in the Philippine independent film movement, through a semiotic analysis. The study aims to explore the conditions of poverty and the related factors that sustain and intensify this social phenomenon by examining Mendoza’s films. By analyzing the aesthetic elements of his movies—such as narrative structure, technical presentation, character development, and overall flow—the author seeks to uncover the connotative meanings that contribute to prevailing socio-cultural myths. The paper focuses on four of Mendoza’s critically acclaimed films, recognized at international film festivals. Through an analysis of their narratives and thematic content, the study identifies recurring themes such as crime, institutionalized violence, resource scarcity, inequality, sexual exploitation, and overpopulation in impoverished settings. Mendoza’s films offer a critical reflection on societal issues, particularly poverty, challenging viewers’ perceptions of morality and ethics in situations marked by extreme adversity. By approximating Mendoza’s objectives, thoughts, and perspectives on poverty, the author formulates key concepts and myths about poverty as portrayed in his films. The study argues that Mendoza’s body of work serves as a powerful critique of societal conditions and underscores the need for collective action to address these persistent challenges. It emphasizes that apathy and indifference are major barriers to eradicating poverty. This comprehensive analysis enriches the discourse on Philippine cinema, underscoring its potential as a medium for social critique and a mirror of complex, multifaceted societal issues.

Keywords: Brillante Mendoza’s films, Kinatay, Masahista, Serbis, Kahirapan.

https://doi.org/10.17576/JKMJC-2025-4102-20