TEHRAN- The Cinematheque of the Iranian Artists Forum (IAF) will screen Filipino film director Lino Brocka’s 1980 drama film “Bona” on Monday.

Iranian film critic Saeid Nouri will attend a screening of the film followed by a review session.

The story and screenplay of “Bona” were penned by Cenen Ramones. The film stars Nora Aunor, one of the Philippines’ most revered actresses, in the titular role. It explores the complex psychological landscape of a young girl named Bona, who becomes obsessively infatuated with a bit actor named Gardo, played by Phillip Salvador. The narrative delves into themes of unrequited love, obsession, and the dark side of human desire, culminating in a nightmarish conclusion for Bona. 

The film was an official entry to the 6th Metro Manila Film Festival and gained international recognition by premiering at the Directors' Fortnight section of the 1981 Cannes International Film Festival. Its critical acclaim was bolstered when Aunor received her second Gawad Urian Award for Best Actress for her compelling performance. Though initially somewhat obscure, “Bona”’s significance grew over time, especially following its restoration and re-screenings.

Originally conceived as a teleplay for the television series "Babae," Ramones’ story focused on Bona’s obsession, which director Brocka later reoriented to emphasize her psychological fixation rather than conventional romance. The film’s production involved a deliberate shift in focus to explore Bona’s obsession with Gardo, which Brocka deemed more compelling and complex than a typical love story. 

After its initial release, “Bona” was thought to be lost due to a fire that destroyed negatives and prints of the films produced by NV Productions. However, a breakthrough came when French distribution company Carlotta Films, led by Vincent Paul-Boncour, located the original negatives stored at a Paris film lab. This discovery was made during research by film historian Jose B. Capino, who was investigating Brocka’s oeuvre. The restoration process, conducted at Cité de Mémoire with sound restoration by L.E. Diapason, culminated in a fully restored version that premiered at the 2024 Cannes Film Festival as part of the Cannes Classics section, earning high praise from industry figures, including Oscar-winning filmmaker Sean Baker.

Bona’s restored version also marked its Philippine debut as the closing film of the 2024 Cinemalaya Film Festival and was screened at the Toronto International Film Festival’s TIFF Classics section. Critics widely regard “Bona” as one of the greatest films in Philippine cinema history. It has been listed among "The Best 100 Films in the World" by the Museum of Tolerance in Los Angeles and remains influential in the global film community. However, some contemporary reviews, such as Lawrence Van Gelder’s for The New York Times, have critiqued the film’s narrative coherence, questioning whether it fully explains Bona’s obsessive nature.

Throughout its history, “Bona” has garnered numerous accolades. It won the Jury Prize at the Figueira da Foz International Film Festival in 1982 and earned Nora Aunor her second Gawad Urian Award for Best Actress. Its cultural and artistic significance continues to be celebrated, with adaptations such as the 2012 stage version by the Philippine Educational Theater Association, featuring Eugene Domingo as Bona. Overall, “Bona” remains a landmark in Filipino cinema, exemplifying Brocka’s mastery and Aunor’s transformative acting.

SAB/