Veteran director Mac Alejandre has teamed up anew with revered National Artist for Film and Broadcast Arts Ricky Lee to bring a complex, layered story to life in “Celestina: Burlesk Dancer,” Viva Film’s upcoming period film and one of its final offerings before the year comes to a close.
Set during one of the Philippines’ most tumultuous eras — the Japanese occupation of the 1940s — the movie offers a glimpse into the lives of characters who navigate both personal and national turmoil.
Led by bold young actresses Yen Durano and Christine Bermas, “Celestina” delves into the struggles of a mother and burlesque dancer fighting for survival, love and dignity amid a brutal backdrop.
Alejandre, known for his dedication to telling poignant, challenging stories — many of which highlight a woman’s plight and strength — passionately discussed the significance of this new film during a media conference, prompted by The Manila Times Entertainment’s question about why Celestina’s story needs to be told today.
Mac Alejandre with ‘Celestina: Burlesk Dancer’ leads Yen Durano and Christine Bermas. FACEBOOK PHOTO/STUDIOVIVAPH
“Burlesk Dancer” zooms in on the life of Celestina or “Tinay” (Durano), a woman who, out of sheer survival, turns to burlesque dancing to provide for her family. She faces not only the external horrors of an impending war but also a deteriorating marriage with her husband, Cornelio (Sid Lucero), a former haciendero who has succumbs to gambling and infidelity.
Confronted with betrayal, Tinay must decide how much more she is willing to endure in order to save her unfaithful husband from himself, as she is forced to perform beyond mere entertainment and surrender her dignity to powerful Japanese imperialists — only to later realize that standing up for herself may put her family’s safety at greater risk.
“Ricky and I knew from the start that we wanted to make a period movie,” Alejandre conveyed initially, describing the film as a long-developed passion project. “We took a while thinking of unique material, and when Boss Vic [del Rosario, Viva’s Chairman] said, ‘Let’s do this as a daring cinema release,’ it brought a new excitement to our project.”
For Alejandre, “Celestina” represents more than historical fiction; rather, it is a reflection of universal, timeless desires, particularly those of women seeking love, security, and self-worth.
With this in mind, he returned to The Manila Times Entertainment’s question and explained, “Tinay’s story needs to be told today simply because what happened in the past is the same as what is happening now and what will happen in the future. Kuwento ito hindi lang ng Pilipino ngunit ng mga taong laging nasasakop [This is a story not just of Filipinos, but of people who are always oppressed]. And all people want to be then, now, and always is to be happy and to love with all their hearts. So for Tinay, she dances not just for money but to save lives. It’s a dance born from survival and courage, not just from desire.”
Alejandre further highlighted how “Celestina” draws parallels between the 1940s and the present day, emphasizing how similar fundamental human experiences remain across generations.
“What is the difference between a woman like Tinay in the 1940s and someone who is forced to survive through prostitution? They’re both victims in different ways, yet they fight in similar ways.”
In describing the film’s approach to eroticism, on the other hand, Alejandre emphasized that while “Celestina” is sensual and daring, every scene was crafted with intentionality and respect for context.
“Yes, it is sexy. Yes, it is very sexy,” he admitted, “but the daring scenes serve a purpose. They are part of the story’s context, reflecting the tension and desperation of that time.”
Asked if “Burlesk Dancer” is in any way connected to Celso Ad Castillo’s critically acclaimed ‘Burlesk Queen’ starring Vilma Santos in the 1970s, he adamantly clarified that neither he nor Lee even dared to imagine a sequel.
“We are both such great admirers of Celso Ad’s masterpiece and would never even venture to do a sequel or remake of his Filipino classic,” Alejandre reiterated, adding they weren’t even comfortable using the word burlesque in the title to avoid any comparison or connection.
It was only when Lee stumbled upon a gold mine of solid research on how the form of entertainment came to be and thrived in the country that both felt compelled to add ‘Burlesk’ in the subtitle.
“It was only because we were finally able to come up with material that, while inspired by this cinematic classic, stands apart from it with its own narrative and identity.”
“Celestina,” therefore, is not in any way a foolishly ambitious and unnecessary echo of ‘Burlesk Queen’ but rather a fresh, original exploration of love, power, and resilience.
And so, as “Celestina: Burlesk Dancer” closes in on its commercial release in December, Alejandre hopes audiences will see beyond the film’s bold exterior to its core message about courage, resilience, and the search for freedom.
For indeed, at a time when stories of survival and identity resonate deeply, “Celestina” serves as a cinematic testament to the resilience of the Filipino spirit across generations.
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