Silip – Daughters of Eve

Mondo Macabro

All Region NTSC

2 Disc Ltd Edition

Web: http://www.mondomacabrodvd.com

The Philippines has a history of nudity and sex on film but due to the strong influence of Catholicism, they are usually coupled with religious themes and in many cases misogyny and guilt. Silip is the epitome of such a combination.

The film opens with the killing and butchering of a buffalo, while it may be argued that the killing is clearly for meat, the animal is killed with quite some violence and the children witnessing the killing are clearly traumatized as it is butchered before their eyes. This really sets the tone for Silip, a film where violence and brutality is the way of life.

On one hand we have Simon, who represents the “animalistic” side of the equation; he has sex with whoever he wants, is violent, aggressive and misogynist. Most of the men seem to follow his lead and work all day, using the women simply as sexual entertainment and to propagate children. This is no idealized Eden but a brutal and disturbed paradise.

On the other hand you have Tonya, a tormented woman who is both tempted and repulsed by sex. She is wracked by religious guilt and a hatred of men and at times behaves like the “possessed” Nuns of classic medieval tales. In one scene she writhes and screams demanding the children throw dirt on her, just like a possessed woman. She is a classic example of sexual suppression and is dangerously neurotic and disturbed.

The village is in a constant state of conflict as Tonya infects the children with her brand of sexually suppressed guilt and hatred of men and the men continue to use and abuse the women. In one shocking scene Tonya explains to a young girl that she is most vulnerable during her first period as the devil takes form as a man who has his “horn” between his legs.

There is no “black and white” morality here, each side is dysfunctional and it is hard to see a resolution. This is more a story about a village in decay, showing the clash of values which brings about the worst excesses from gang rape to murder.

The trigger for the final events is when Selda, Tonya’s sister returns from the big smoke. Selda has learned how to use sex to get what she wants. However, her return triggers the smouldering sexuality of Tonya, the children feel betrayed by her obvious hypocrisy and the village disintegrates, destroying everyone including the children. The scene where the children rage against Simon and kill him is especially powerful.

This is disturbing stuff, Silip is a long film (over two hours) and controversial. When it was originally shown at the Chicago Film Festival in the Eighties it caused havoc and it is not surprising to see why. It is packed with nudity, rough sex, violence, abuse, a brutal gang rape and killings.

At the same time it is also the tone of the film which is so depressing; it is as though the Catholicism that is present in Philippine culture has so poisoned the village that it cannot be redeemed. While Tonya may represent an extreme example of the sexual suppression brought about by the Church, the message also seems to be that the whole village’s moral compass has been distorted by the primitive sex negative values which have been drummed into them.

Indeed, in the final scene the women are seen as responsible for the killings (even though they are innocent) and burnt. This motif, of course, has much in common with the classic storyline of the nun tormented by sexual desires who is burnt as a witch for her supposed union with the devil. Indeed it is as though the classic “possessed sexually suppressed Nun motif” has been transplanted into a Philippine context and made relevant to their unique cultural situation.

There are two soundtracks offered, the international soundtrack which is dubbed in English with a substitute music score, it is a poor substitute for the original soundtrack which includes a haunting musical score and clear subtitles.

The second DVD is loaded with extras including cast and crew biographies, a fascinating text essay on the nature of Philippine cinema, interviews with Director Elwood Perez, actress Maria Isabel Lopez and art director Alfredo Santos.

This review will appear in Volume 2:1 (2009) of the digital and print edition of Synergy Magazine.

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