How Mike De Leon's Films Created A Niche In The Industry

"Today, I lost a dear friend." That was veteran actress-producer Charo Santos-Concio, whose very first mentor in the art and discipline of filmmaking was Mike de Leon, when she did "Itim" back in 1976.

- LEAH C. SALTERIO

"From him, I learned everything: the rigor of preparing a shot list, the mounting of scenes, the rhythm of narrative, the editing, the discipline of sound, music and mixing back when a motion picture was shot on actual film."

An eminent filmmaker of the so-called Second Golden Age of Philippine cinema, independent film director Miguel Pamintuan de Leon had years of going into a recluse, where he didn't make any film.

"He was a perfectionist, a genius and a true master of cinema," added Charo. "Yet, beyond his brilliance, Mike was my friend. He gave me trust, guidance and unforgettable moments of collaboration."

"Through the years, he was unfailingly present at milestones and even in the most challenging seasons of my life. In my darkest hours, he was there, quiet, steady, kind. Ours was a bond that felt like soulmates in artistry, a connection built on respect and admiration."

Known as Mike de Leon to many, he was distinguished as a pillar of Philippine cinema for marginalized themes within Philippine culture, mostly depicted in the Martial Law era under the presidency of Ferdinand Marcos Sr.

"He gave us films that were not merely watched, but deeply felt, etched into who we are. 'Kisapmata,' 'Batch '81,' 'Kung Mangarap Ka't Magising,' 'Kakabakaba Ka Ba' and 'Itim' were never just films; they were mirrors, unflinching in their truth, forcing us to confront ourselves and the world we live in."

Mike was considered an auteur whose award-winning films, box-office success or not, created a niche in Philippine movie history. He gave the public other films, 'Sister Stella L' (1984) and 'Bayaning Third World' (2000).

During the Marcos regime, Mike had a brief detention and interrogation inside a military camp.