Eddie Romero’s ‘Ganito’ selected for UNESCO memory of the world

On the centennial of National Artist for Film Eddie Romero, the Dumaguete born director’s seminal “Ganito Kami Noon, Paano Kayo Ngayon?” has been selected for inclusion in the UNESCO Memory of the World Register during a simple but sumptuous lunch at Dusit Thani Manila on the third Wednesday of November.

One of Romero’s most celebrated films, “Ganito Kami Noon, Paano Kayo Ngayon?” (1976) delves deeply into Filipino identity and culture during the Spanish colonial era, skillfully blending humor, drama, and historical insight. Widely regarded as a masterpiece of Philippine cinema, this film reflects powerful themes that recur throughout Romero’s works, including the epic “Aguila” (1980), which spans generations to explore the impact of colonization and war on the Filipino spirit.

Nick Deocampo, film scholar and chair of UNESCO Philippines, said the film uniquely captures the essence of Filipino identity, resilience, and heritage. The film doesn’t just tell a story, according to Deocampo, it also embodies a legacy, a piece of history, and a powerful statement about Filipino culture and spirit.

Its inclusion in the UNESCO Memory of the World Register honors its role in preserving cultural heritage for the world.

Among other films by Romero are “Kamakalawa” (1981), which immerses viewers in pre-colonial Philippines, shedding light on indigenous Filipino mythology and social structures, while “Banta ng Kahapon” (1977) takes a modern approach, examining political corruption and social injustice.

Romero is also known for his Filipino war trilogy, which includes “The Walls of Hell” (1964), “The Passionate Strangers” (1966), and “Manila, Open City” (1968), a series that captures the brutality of war and resilience in the face of conflict.

Beyond entertainment, Romero’s films are cultural reflections that have elevated Philippine cinema to an art form, respected globally for their depth, character, and storytelling.

“You can be anything you want to be as long as you like what you’re doing and strive to be good, if not the best at it. You can be a carpenter but be darn good at it and like it,” Romero’s son Joey recalls him saying.

Proclaimed a National Artist for his body of work, Romero’s legacy stretches beyond film, having been a prime mover in creating the Film Academy of the Philippines, MOWELFUND (Movie Workers Welfare Foundation), and the Movie and Television Review and Classification Board. He was also instrumental in securing the December playdate for the Metro Manila Film Festival.

Romero’s unique storytelling style was largely shaped by his wide reading habit; he would frequently visit bookstores, bringing home bestsellers and maintaining a collection of “great books” by renowned philosophers like Aristotle and Freud.

This intellectual curiosity fueled his creativity, with his stories often emerging from the knowledge he absorbed from these texts. Although he sometimes had limited choice over the themes in his work — such as during the time he made horror films for the drive-in theater market — he consistently infused commercial projects with his personal touch, adding depth through sharp dialogue or clever twists.

One of Romero’s most admired qualities was his ability to work within constraints, creating films that appeared epic even on modest budgets.

As he once confided, “In this business, you’d be lucky to ‘choose’ what stories you would like to tell.” While his projects occasionally had commercial imperatives, he always found ways to infuse them with originality and purpose.

Romero also influenced the creative voices of next generation filmmakers Elvert Bañares and Rica Arevalo.

Arevalo recalls their collaboration fondly, detailing her experience as a co-screenwriter for Romero’s digital films, “Faces of Love” and “Teach Me To Love.” “He was open to suggestions, especially from a young filmmaker like me,” she said.

Bañares, who deeply appreciated Romero’s resourcefulness, describes him as a master who knew how to make every frame impactful: “He was one of those rare artists who knows what to do with what he has.”

Though self-taught, Romero shared insights on cinematic storytelling with fellow Mowelfund worker Deocampo while stuck in EDSA traffic. Deocampo marveled at the symbolism Romero infused into his work, describing it as “perfectly semiotic.”

In one powerful scene in “Ganito…,” a priest stands over Kulas, visually representing colonial subjugation of the indios. As Deocampo explains, this reflects the “politics of space,” where framing reveals the historical power dynamics. Romero’s mise-en-scène is careful and intentional, with each shot contributing to a layered portrayal of Filipino struggle.

Among those present at the UNESCO event at Dusit were actresses Chanda Romero and Gloria Diaz, Film Development Council of the Philippines chair director Joey Reyes, director Paolo Villaluna of the Film Academy.

Romero died in 2013.