Tehran – Cinematheque of the Iranian Artist Forum (IAF) will screen Philippine film director Renoblokka’s 1980 drama film “Bona” on Monday.
Iranian film critic Saeid Nouri will be taking part in a review session following the film’s screening.
The story and script for “Bona” was written by Senen Ramones. The film stars Nora Aunor, one of the Philippines’ most respected actresses, in an honorable role. It explores the complicated psychological landscape of a young girl named Bona. Bona gets engrossed in by an actor named Gardo, played by Philip Salvador. The story explores the themes of unrequited love, obsession, and dark sides of human desire, leading to authentic nightmare conclusions.
The film was an official entry to the 6th Metro Manila Film Festival and received international recognition by premiering in the two-week section of the director of the 1981 Cannes Film Festival. That critic was strengthened when Aunor won the second Gawad Urian Award for the best actress for her charming performance. Although it is a bit unclear at first, the importance of “Bona” increased over time, especially following its recovery and rescreen.
It was originally thought of as a teleplay for the television series “Babae.” The Ramones story focused on the obsession of bonuses. The film’s production involved a deliberate shift in focus to explore Bona’s obsession with Gard.
After the first release, “Bona” was thought to have been lost due to a fire that destroyed the negatives and prints of a film produced by NV Productions. But a breakthrough happened when Carlotta Films, a French distribution company led by Vincent Paul Boncore, discovered the original negatives preserved in a film lab in Paris. This discovery was made during a study by film historian Jose B. Capino, who was investigating Brocca’s work. The restoration process carried out at Cité de Mémoire at Sund Restoration by Le Diapason reached its peak with a fully restored version that premiered as part of the Cannes Classic section at the 2024 Cannes Film Festival, earning high praise from industry figures, including Oscar-winning filmmaker Sean Baker.
The restored version of Bona also marked the Philippine debut as the closing film of the 2024 Cinemalaya Film Festival, and was screened in the TIFF Classics section of the Toronto International Film Festival. Critics have broadly regarded “Bona” as one of the greatest films in the history of Philippine cinema. It is listed among the “100 Best Films in the World” by the Museum of Tolerance in Los Angeles, and has an impact on the global film community. However, some contemporary reviews, like Lawrence Van Gelder in The New York Times, criticising the film’s narrative consistency and questioning whether it fully explains Bona’s obsessive nature.
Throughout its history, “Bona” has received many acclaim. She won the Juju Award at the 1982 Figradafoz International Film Festival, and Noraoonor won the second Garadoulian Award for Best Actress. Its cultural and artistic importance features Eugene Domingo as Bona, with adaptations such as the 2012 stage version by the Philippine Education Theatre Association. Overall, “Bona” remains a landmark in Philippine cinema, exemplifying Brocá’s mastery and Aunor’s transformational performance.
sab/