MMFF Films on Law as Tool for Justice and Dignity
3 MIN READ
By ATTY. DENNIS GORECHO
www.nordis.net
The 2025 Metro Manila Film Festival (MMFF) highlighted legal and societal issues through films that showed law as a tool for justice and dignity.
The films Bar Boys, Call Me Mother, Manila’s Finest, ImPerfect, and Unmarry showcased diverse legal realities, focusing on issues such as adoption, human rights, family law, and corruption, reflecting the festival’s theme, “A New Era for Philippine Cinema.”
“Bar Boys After School “ (2025) is a sequel set a decade after the events in the original film Bar Boys (2017). It follows best friends Erik (Carlo Aquino), Torran (Rocco Nacino), Chris (Enzo Pineda), and Joshua (Kean Cipriano) as they grapple with the ongoing search for meaning in their careers and personal lives.
They confront their life choices and find new roles as mentors to the next generation of law students, Sassa Gurl, Will Ashley, and Therese Malvar, who are facing the same systemic pressures.
The film shows them rediscovering and navigating their careers while caring for their ill former professor, Justice Hernandez (Odette Khan).
“Call Me Mother” deals with adoption for members of the LGBT+ community and the queer struggle of being an adoptive parent.
It follows Twinkle (Vice Ganda), a queer mother, who is preparing to formally adopt his son, Angelo, by finalizing his adoption papers. However, a legal requirement forces him to reconnect with Angelo’s biological mother, former beauty queen Mara (Nadine Lustre).
The film depicted what it truly means to be a mother as it takes into account the perspectives of both the biological and adoptive mothers, showing how the two mothers are right in their own ways.
“Manila’s Finest” depicts the erosion of police integrity shortly before the declaration of Martial Law under Ferdinand Marcos Sr.’s dictatorship.
Set in 1969 and the early 1970s, it is a tale of policemen seeking to uphold justice amid gang wars, student protests led by activists from the University of the Philippines, and government intervention
Policemen Homer (Piolo Pascual), Conrad (Ariel Rivera), and Billy (Enrique Gil) are consumed by the murder case of troublemaking teenagers in the slums.
It centers on a group of police officers in Manila’s Police District, whose interservice rivalry culminates in their eventual integration with the Philippine Constabulary Metropolitan Command (MetroCom) under the pretext of disputed incidents cited as justification for Martial Law.
A scene depicts Pascual insinuating his option to continue his legal studies as the film shows how an institution intended for justice can be transformed into an instrument of state oppression.
In Aberca vs. Ver (G.R. No. L-69866 April 15, 1988), the Supreme Court said that “the duty to prevent or suppress lawless violence, insurrection, rebellion and subversion xxx cannot be construed as a blanket license or a roving commission untramelled by any constitutional restraint, to disregard or transgress upon the rights and liberties of the individual citizen enshrined in and protected by the Constitution.”
“Unmarry” revolves around Celine (Angelica Panganiban) and Ivan (Zanjoe Marudo), who separately process the dissolution of their marriage through annulment cases handled by a common lawyer, Atty. Lambridas ( Eugene Domingo).
Both used as grounds the psychological incapacity under Article 36 of the Family Code, which the Supreme Court interprets “as a serious, grave, and incurable condition existing at the time of marriage, making a spouse unable to fulfill marital duties”. Recent rulings emphasize that incapacity need not be a diagnosed illness that may manifest later.
“ImPerfect” revolves around the romantic relationship between two adults with Down syndrome. Jessica (Krystel Go) and Jiro (Earl Amaba) as they strive for independence in a world that often constrains them. The movie celebrates their journey, emphasizing that they have the right to love and live fully, challenging stigmas and showcasing their abilities.
The script incorporates aspects of R.A. No. 7277 (Magna Carta for Persons with Disability) that promote self-development, self-reliance, and the integration of PWDs into mainstream society. It also prohibits discrimination and outlines fundamental rights across areas such as employment, education, and health.
Movies play a powerful role in shaping public perception of crime and justice by creating narratives that influence how society views victims and offenders.
Films can serve as catalysts for public discourse by dramatizing real legal cases or introducing fictional narratives that address contemporary ethical dilemmas.
Movies with legal undertones have always held up a mirror to our society, forcing us to confront uncomfortable truths about how justice really works—and how it fails.#nordis.net
