Netflix recently added Rewind, the romantic fantasy drama film that not only reigned supreme in ticket sales at last year's Metro Manila Film Festival but also secured its place as the highest-grossing Filipino film of all time. While the movie's premise of a second chance is undeniably heartwarming, a closer look through a feminist lens reveals a narrative deeply entrenched in traditional gender roles and societal expectations.
John Nuñez, played by Dingdong Dantes, embodies the classic archetype of the disgruntled male office worker within the male-dominated confines of a liquor company. Passed over for a promotion in favor of a younger female colleague, Vivian (Sue Ramirez), John's ego takes a beating. The film portrays Vivian's success as reliant on "playing by the rules" of a testosterone-driven system. While the film does not explicitly question Vivian's competence, it subtly suggests that her skill is secondary to her ability to navigate a framework that favors men.
John's character in the film embodies a complex portrayal of masculinity. Through subtle yet impactful moments, the film sheds light on his prioritization of traditionally masculine activities over those deemed less so.
Despite the sacrifice of his quintessential supportive wife, Mary (Marian Rivera), to forgo her culinary career to become a full-time homemaker, John remains entrenched in toxic gender norms, where the man's role as the head of the family takes precedence. This prioritization is exemplified by his reluctance to fully engage with his son Austin's interests.
For instance, when Austin enthusiastically plays the piano, John interrupts him during an important phone call, subtly reinforcing the idea that masculine pursuits, such as work-related matters, hold greater importance than his son's artistic expression. Similarly, when Austin eagerly invites John to attend the school play he wrote, it's apparent that John's initial hesitance stems from a perception that such creative activities are less significant or less masculine compared to sports-related events.
Interestingly, John does recall being present during Austin's football tryouts. The fact that he remembers this event suggests that he values his son's involvement in sports, particularly football, which is often associated with strength, competition, and masculinity. It contrasts with his reluctance to support Austin's interests in playing the piano and writing school plays, and it indicates a bias towards activities perceived as more traditionally masculine.
Furthermore, the narrative presents a problematic view of John's infidelity. When John kisses Vivian, it's framed as a momentary lapse in judgment rather than a violation of his marital vows. John's denial and lack of remorse further highlight the ingrained sense of entitlement that often accompanies unchecked male ego.
The fantastical element of John's chance to rewind time offers a fascinating lens to examine these ingrained patterns. John attempts to course-correct his mistakes, but the core motivations remain suspect. His actions are driven by a desire to restore order and control, not by a genuine desire for personal growth or an understanding of the impact of his behavior on those around him.
Reinforcing the limitations placed on women within this patriarchal structure, the film presents Mary's happiness as contingent on John's actions. This underscores the notion of women as passive recipients rather than architects of their own destinies.
Further perpetuating stereotypes is the scene where John and his male colleagues surprise their boss with a birthday dance performance in stereotypical feminine attire. While seemingly lighthearted, it reflects societal acceptance of heterosexual males performing exaggerated femininity for laughs. This highlights the double standards surrounding gender expression. Society seems comfortable with men mocking femininity, even using it for humor, yet remains uncomfortable with the actual existence of LGBTQ+ individuals and their fight for equality. This reinforces a limited view of masculinity and the marginalization of those who don't conform to traditional gender norms.
The film's ending, however, offers a glimmer of hope. John's ultimate sacrifice allows Mary and Austin to pursue their dreams. Despite his initial reluctance and adherence to traditional gender roles, John takes significant steps towards resolution. He finally embraces his son's passion for playing the piano, supports his wife's dream, and reconciles with his father. While it can be interpreted as a selfless act, it's important to acknowledge that this sacrifice is only necessary because John created the situation in the first place.
Rewind isn't a condemnation of Star Cinema for reinforcing patriarchy. Instead, it becomes a mirror reflecting its prevalence. The film's narrative, likely shaped by societal norms, unintentionally exposes how a patriarchal system limits both men and women. John's story serves as a cautionary tale, but also sparks a conversation worth having.
Through a feminist lens, we see John himself as a victim of patriarchy. The pressure to be the emotionless provider, the dismissal of his vulnerability, and rigid definitions of masculinity all inflate his ego and fuel his bad choices. This portrayal allows us to move beyond critique and have a nuanced discussion. We can explore dismantling these structures and building a future where everyone, regardless of gender, has the freedom to pursue their passions and define success on their own terms.
Movie Poster: Star Cinema