Jacqueline Comes Home (The Story of Chiong): God-terrible

In fact, it is impossible that no film is biased. Films, even fictitious, based on real stories, are not journalism articles that aim to be objective. The facts are filtered by partial minds and transformed into stories that correspond to agendas, whether commercial or something fishy.

Give Up Tomorrow by Michael Collins (2011), a documentary that addresses the same events, is clear about his bias to present an apparent injustice that has occurred. He is methodical, cautious and even sensitive in his approach. It's sober. He opens himself to the examination and the speech. It convinces or, at the very least, undermines beliefs and highlights pressing issues that should be discussed even without interfering with the film's main agenda.

GRIEVANCE OF THE MOTHER. Thelma (Alma Moreno) worries about the disappearance of her daughters Marijoy and Jacqueline.

Jacqueline Comes Home is horribly different.

She feels despair. He hides under religion. It hides behind simplistic descriptions, using black and white and often unrealistic representations of villains and heroes that are more suited to soap operas than controversial true stories. He mocks sympathies, relying on cardboard cutouts to represent human beings whose innate complexities and motivations have given rise to the necessary public debate around Chiong's story.

More demonizing than humanizing

The film is reprehensible not because it is skewed, but because it is irresponsible to press for its prejudices.

Sophisms are needed to persuade. He carelessly pulls the heart. It presents unrelated scenes where valid doubts are quickly overturned by maternity statements and general statements of loyalty to an imperfect court system. It is edited randomly to make violence its centerpiece, perhaps to highlight the depravity of fictional personalities that are clearly based on real people. It is fictitious not only because it is more convenient to recreate a plot than to search the records and evidence on both sides, but also because superficial tears and brutal fears weigh more than exhaustive, deliberate interpretations and Thoughtful of a crime whose consequences include not only the grieving parents, but the very integrity of an already besieged justice system upon which a whole nation counts.

STALKER. Marijoy (Donnalyn Bartolome) is followed.

Surely, there is nothing wrong with making a film about a mother who is reconciled with the violent death of her daughters. However, when the grief, which is portrayed in the film by Caparas in such a mechanical and predictable way, is intertwined with a motive for obscuring and gaining pity on one side that empathy for everyone who has been affected by the atrocity, the effect is more demonization of the film's enemies rather than humanizing his heroes.

The Cinematographic Ignominy

Quite simply, Jacqueline Comes Home is perverted and devilish. It's better to ignore it unless you have a stomach for cinematic ignominy. – Rappler.com

Francis Joseph Cruz pleads for a living and writes about cinema for fun. The first Filipino film he saw in the theaters was Carlo J. Caparas' Tirad Pass

Since then his mission has been to find better memories with Filipino cinema