“My Friend the Terrorist” directed by Malcolm Guy and Demetri Estdelacopolis, is a documentary that presents real testimonies the Filipino people regarding their struggle for national liberation amidst the intricate dynamics of people’s war. The resistance against US dominance and the fascism of human exploitation and subjugation.
The documentary as narrated by Malcolm Guy reflects how the political asylum of Joma Sison and Julie de Lima surpasses the fundamental issues and struggle to liberate the Filipino people and the world from US imperialism and its exploiting agents.
Joma Sison, accompanied by his wife and comrade Julie de Lima, sought political asylum in The Hague, Netherlands, following the revocation of his passport by the Philippine government. Contrary to false reports suggesting that Joma and Julie were enjoying themselves in the Netherlands, they were effectively expelled from the country, and their return would result in their execution. However, Joma in the film’s final episode unequivocally expressed his dedication to serving the people, stating, “when one engages in an armed revolution, one is prepared to die at any moment.”
Similar to all persons who have not experienced victory of the new democratic revolution, the core principle lies in lifelong dedication to the goal and the willingness to embrace martyrdom if necessary, thereby enabling others to continue the pursuit. Observing Joma and Julie in the film prompts the question of why someone would inflict harm upon these admirable individuals who have devoted their life to serving the Filipino people.
Contrary to false reports suggesting that Joma and Julie were enjoying themselves in the Netherlands, they were effectively expelled from the country, and their return would result in their execution. (Photo: Malcolm Guy)
As the film advances, Malcolm successfully links the revolutionary forces with the New People’s Army in their enduring protracted war in the countryside, reflecting the profound comradeship between Joma and Julie in the revolutionary struggle. Although Joma and Julie’s affection for each other is pure, genuine, and inspiring, their dedication to channel that love into the revolutionary cause for the exploited and oppressed has also fueled their bond.
The interspersed interviews between Joma and Julie and the other players, such as the NPAs husband and wife Andoy and Unsay, demonstrate that personal love and the revolution are inextricably linked. These individuals, like Joma and Julie, are committed to serving the people in the manner that the armed struggle should lead them to victory. And if they do not witness the revolution’s victory in their lifetime, the revolutionary family that was established will persist in its struggle.
It is important to recognize that the docufilm not only emphasizes Joma and Julie, but also illustrates how the country’s advancements in national liberation and democracy undermine the United States’ hegemonist and aggressive capabilities, thereby strengthening progressive forces worldwide.
Although Joma and Julie’s love for one other is pure, real, and inspiring, their commitment to channeling that love into the revolutionary cause for the exploited and downtrodden has only strengthened their bond. (Photo: Malcolm Guy)
The reality of the narrative is never compromised in Guy’s film, as evidenced by the old footage, which appears to be a combination of broadcast video and mini-DVD. The revolution captured in the past historical accounts is never lost on its journey to victory when it is passed down to the next generation of revolutionaries. The film is a perpetual reminder of fascism, not only due to the political crisis of the previous Philippine presidents but also because the current generation is enthusiastic about participating in the revolutionary struggle for the people.
The connection to contemporary rallies and protests in the documentary film underscores its objective, which is to affirm that the struggle is genuine and ongoing. Whether these observations in the film are justifiably regarded as absurd, particularly by Joma’s detractors, it is indisputable that the current state of the people’s struggle offers objective evidence of the defining characteristic of such struggles, wherein the conditions necessary to conduct a people’s war are clearly illustrated. Malcolm Guy has always upheld the narrative tone, and essentially, the film maintains faithful to the authentic narratives of the people’s war.
The documentary film will be screened in several cities across Canada, including Ottawa, Montreal, Alberta, and Toronto.
