By A. L. Sarino
As films, Lola Igna and Bwakaw utilize humor in their narratives in hopes of shedding light on an often-overlooked and sometimes lonesome reality for the elderly in the Philippines.
"Old places and old persons in their turn, when spirit dwells in them, have an intrinsic vitality of which youth is incapable, precisely, the balance and wisdom that come from long perspectives and broad foundations."
- George Santayana
Aging, as an experience, is often defined by its physical effects on the human body. In the 6th edition of the book titled Developmental Biology, it is described as the time-related deterioration of the physiological functions necessary for survival and fertility. The provided meaning highlights the decreasing capabilities of continuity of life through the aging process. Due to this prevalence, the emergence of studies choosing to emphasize the sociological and psychological mechanisms behind it is a recent event. Most theories focusing on these aspects only date back as far as the 1950s, as per Lange and Grossman (2010). The practice of studying the non-physiological effects of aging was only introduced in the 20th century, and much of the perception of growing old persists in concentrating primarily on the physical aspects, thereby neglecting other possible avenues of factors.
Due to the youthfulness of the research, findings regarding the psyche of the elderly are generally accomplished in the West, with studies from non-white backgrounds being few and far between, as claimed by Banaji, Fiske, and Massey (2021), this gap in the research explains the lack of awareness that aging is perceived differently from culture to culture. While it is generally discerned negatively in the West because of the complications it places in the working force, perceptions of it in the East usually center on enlightenment, status, maturation, filial piety, and the like.
In Francisco’s 1966 paper titled Death: Its Origin and Related Beliefs Among the Early Filipinos, he asserts that folkloric elements in the Filipino perception of death persist until today. Much of this can be linked to the early Filipinos' use of folklore and myths to reflect on objects and experiences in everyday life. With this, the perception of death in the Philippines is accompanied by various beliefs about the afterlife and the supernatural, as well as activities such as staying up during the wake and gambling being practiced in accordance with these beliefs. Processing death with these cultural perceptions may provide the bereaved with a space to reminisce about their loved one’s life beyond the immediate loss.
The use of beliefs is not only applicable to death in the Filipino psyche. In Thinking about aging: Experience, Identity and Meaning among an Elderly Population in the Philippines, Esteban (2015) found that the elderly use idioms to describe the condition of the body, and they act upon the body based on its meanings. The two main idioms that were mentioned in the study pertain to the aging process of the body: tulad ng dati (like before), and di tulad ng dati (unlike before). The findings of the research detail the anxieties and insecurities the volunteer elderly face during the latest stage of their lives. This is in contrast to Bandana and Andel’s findings in their 2018 study titled Aging in the Philippines, asserting that although Filipinos acknowledge the declines that may surface as someone ages, they view aging in a more positive light because of the respect and dignity they gain along with it. With the mentioned characteristics in mind, how do these theories and beliefs persist and hold true in the experiences of the elderly themselves?
In Eduardo W. Roy Jr.'s 2019 dramedy film titled Lola Igna, the plot centers around Lola Igna, a 118-year-old elderly woman who suddenly experiences nationwide attention as she has the chance to be proclaimed as the oldest living person in the world. Prior to this, she was living peacefully in her own nipa hut, with her family sending food every dinner. Because of the possibility of her owning the title, she is flooded with visitors from all over the country, including Tim, the son of her missing daughter whom she previously thought was dead. With new company from her aspiring vlogger grandson, she finds meaning in an otherwise listless life. Lola Igna shows signs of disengagement, especially in the beginning, where the audience sees her living alone in a simple nipa hut surrounded by fields—an example of the Disengagement theory, which theorizes that elderly people gradually disengage from relationships and society during the aging process (Lange & Grossman, 2010).
In the beginning, Lola Igna states that her last wish is to die, in contrast to the people's hopes for her to continue living. Her anxieties stem from her lack of an economic role in the family as she cannot work anymore due to her age, a common experience for the elderly as they undergo reminiscence, as discussed by de Guzman et al. in their 2009 paper titled Filipino Elderly’s Sense of Reminiscence, Living Disposition, and End-of-life Views. The admission also pertains to her lack of agency, as autonomy in old age carries more economic weight. She expresses her grievances about her old age using idioms, similar to phrases reported earlier by Esteban (2015).
One night, Lola Igna notices a disturbance in the fields, prompting her to go outside and inspect. She sees the face of her deceased lover, along with the faces of her other departed loved ones. In the morning, she is ecstatic at the prospect that she may be nearing her own death, as being visited by dead loved ones is believed to signify one's impending death—an example of the prominence of folklore in the Filipino view of death (Francisco, 1966). She urges Tim to gather wood for her, and he obliges, but disagrees once she confesses the reason for the request. The next day, they attend a funeral, and Lola Igna is left questioning why God would rather take unwilling people first before willing people like herself. While Christianity or other religions may serve as a protective tool against the anguish that the elderly may undergo (Bandana & Andel, 2018), anxieties due to faith, similar to what Lola Igna experiences, are unavoidable in the aging process, as grieving becomes a more common experience.
By the end of the film, Lola Igna reunites with her daughter, Ana, who returns after years of disappearance. However, only days after their reunion, Lola Igna is forced to be the midwife for her pregnant daughter in the fields, and Ana dies right after giving birth. In the last minutes of the narrative, Lola Igna is left to process the coincidence of her death becoming her daughter's while taking care of the newborn child. She chooses to capture a vlog by herself for the first time. Tim's presence during this time mitigates the potential manifestation of disengagement in Lola Igna's behavior that may result in being alone and experiencing loneliness, as found by Villegas in their 2014 study titled Graying Matters: Aging in Contemporary Philippine Society.
While the film maintains a light tone by presenting an exaggerated premise and incorporating humor as well as peaceful moments of Lola Igna and Tim's interactions, it also sheds light on the realities and anxieties that the elderly face in the final years of their lives. It humanizes the elderly Filipino woman beyond her roles as a good cook and caretaker for her grandchildren. Given this perspective, one might wonder—what is aging like for the other half of society? Are there key similarities and differences?
In the 2012 comedy-drama film titled Bwakaw by Jun R. Lana, the narrative follows Rene, loosely based on the Filipino author Rene O. Villanueva, an old man who is accompanied by a stray-turned-pet dog called Bwakaw—meaning "greedy" in Filipino slang. The film explores Rene’s psyche as he navigates his everyday life with his dog, providing ample space for the titular character to process his own grievances towards aging, his identity, and the state of his relationships as a result. Rene works as an office worker despite retiring years ago and is given no financial compensation. His reason for this is to be able to do something and remain productive, an example of Activity Theory. In contrast to Disengagement Theory mentioned above, Activity Theory is a theory which asserts that a continuously active and engaging lifestyle provides better outcomes for the elderly in their later years (Lange & Grossman, 2010). Rene seeks activity by socializing with strangers and long-time friends despite his irritability and short temperament as it mitigates the prominence of loneliness, which is also the reason for his unexpected attachment to his dog, Bwakaw.
In the progression of the film, Rene is asked to claim the coffin he had purchased during a summer sale years ago, as the funeral parlor from which he purchased it is closing soon. He decides to have it delivered to his house in the middle of the night to avoid suspicion and concern from his friends. Despite his efforts, a persistent woman who had previously asked him if she could pay a visit to his Santo Entierro for a prayer to heal her grandson sees the delivery of the coffin, prompting her to report it to his confidants. As Rene tests the comfort of the coffin by lying in it, his friends mistake it for him being already dead when they see him and proceed to grieve. Rene wakes up and scares them afterward, and the group consoles each other regarding the earlier fight at the salon and the false alarm. Despite his irritability and denial of his identity causing strains in his friendships, Rene receives reassurance and support that is vital, especially at this stage in his life, as friendships are the central connections that anchor and support the development of other relationships and social networks (Esteban, 2015).
Unfortunately, after losing a coworker to a heart attack following a departure celebration arranged by coworkers, Rene’s luck with grief, or lack thereof, worsens as Bwakaw is diagnosed with cancer after he notices unusual bleeding from the dog. Encouraged by the persistent woman from earlier to pray to the Santa Entierro that he owns, Rene agrees to the suggestion. Rene also befriends Sol, a tricycle driver, with whom he initially quarreled with because Bwakaw was not allowed to ride along with him. His friends are skeptical of the man due to his tattoos and general facial features that might arouse suspicion from strangers, but Rene asserts that Sol means no harm and will only help him in renovating the house and taking Bwakaw to the doctor for the time being.
As Rene and Sol form a closer bond, he develops something more for the younger man. However, when he tries to express his newfound discovery while the other man is asleep, Sol wakes up and panics at the gesture. Discovering the old man’s secret, Sol leaves Rene behind, leaving him alone. Taking Bwakaw by himself to Manila, Rene is informed that Bwakaw will only live for a few more days. He goes to the nearby church to ask God why he is seemingly punished by having his companion taken away. As grief-stricken as his life has been recently, Bwakaw's death precedes Rene’s, and he is left to grieve not only for his late loved ones but also for his dog. Still, Rene moves forward with life, and is seen strolling by himself after being passed by Sol's tricycle by the end of the film.
Both films, utilizing humor in their narratives, shed light on an often-overlooked reality for the elderly in the Philippines. While Medina, B. T. and Medina, M. C. T.'s 2023 article titled The Elderly in the Filipino Family emphasizes that elderly individuals are not considered burdens and do not pose significant issues to society, there remains an underlying emotional struggle stemming from feelings of worthlessness due to their perceived lesser capability to contribute to the community. As Medina asserts, “There should be intergenerational solidarity for the social well-being and mental health of the elderly through constant communication and visits.”
In summation, fostering a society that values and uplifts its older population is not just a moral imperative but a strategic investment in the well-being of the community as a whole. By acknowledging the elderly as one of its integral members and providing them with care, connection, and empathetic support that they deserve, we not only honor their past contributions but also cultivate a more compassionate and inclusive culture free from the dehumanizing qualities of late-stage capitalism. It is through such collective efforts that we can truly create a society where the wisdom and experiences of the elderly are discussed, their challenges addressed, and their voices heard and respected.
About the Writer
A. L. Sarino is an emerging writer hailing from the Philippines. Aside from reading as a daily ritual, they take an interest in discussing prevailing social structures and injustices through literary film analysis. They study Creative Writing at the Philippine High School for the Arts and serve as a general editor at The Trailblazer Literary Magazine. Sa Ngalan ng Gula-gulanit na Gunita is their first published book. They can be found on Instagram at @a.l.sarino.
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