Political figures in many jurisdictions and territories will perpetually have vested interests in their spheres of influence. Politics will constantly ensue and dominate over pressing issues. Ideally, politics is merely a cloak of invisibility for the perilous nature of `power drunk` leaders. It is worth noting that this essay seeks to present an extensive film response and synopsis based on the motion picture `On the President’s Order.` In addition, this essay will detail the film’s argument and the techniques utilized to present the narrative. Last but most importantly, lessons can be learned about the political economy of South Asia through this film.
To begin with, it is imperative to acknowledge that the feature-length film titled `On the President’s Order tracks President Rodrigo Duterte’s bloody war on drugs in the Philippines, where he has pledged to execute drug traffickers and consumers alike. The police force of Caloocan, a Manila neighbourhood where police and vigilantes have killed thousands of people, is the subject of the movie.
The movie highlights the policy’s human cost and societal repercussions in addition to exposing the corruption, bloodshed, and impunity that characterize the drug war. The film opens a lid on the extent of the powers and prerogatives of the president and how the police service became a political sycophant machine that threatened the moral fabric of the Pilipino community to the core.
In the same vein, film and political pundits have given the movie largely rave reviews, praising its realistic and immersive manner, its daring approach to tackling a violent and contentious subject, and its access to the victims and police. The film provides an engrossing and unsettling portrayal of the drug war’s reality in the Philippines. The story is presented by James Jones and Olivier Sarbil, who employ a combination of observational and investigative methods, including tracking the police raids, speaking with the victims and their relatives, and gaining access to official documents and video.
The movie also uses lighting, sound, and other cinematic aspects to create a suspenseful and immersive atmosphere. The film employs an unadorned soundtrack and minimal narration, allowing the people’s words and images to speak for themselves. Instead of making overt criticism or analysis, the film asks viewers to observe and consider the effects of Duterte’s policies.
More specifically, the filmmakers of `On the President’s Order` highlight the political and historical dimensions of the drug war together with proof of the killings and abuses carried out by the police through the use of archive footage from speeches, news stories, and security cameras.( Trautwein, Catherine) Additionally, the filmmakers recreate some of the events and settings that took place during the drug war through re-enactment scenes, including drug suspect raids, arrests, and executions.
Notably, the film ` On the Presidents Order` does not hold back when presenting the gory and brutal sequences of the murders; however, it also strikes a balance by including sympathetic and human moments. The movie is both a forceful and persuasive indictment of Duterte’s autocratic and populist government and a plea for reparations and justice for the drug war’s victims.
The impact of the killings on the victims’ relatives and communities is also depicted in the movie, along with the moral quandary faced by the police officers who participate in the violence. For example, the movie depicts Jemar Modequillo, the police chief, trying to support Duterte’s campaign while reforming the force and lowering the number of killings.
Apart from the police training exercises that dehumanize the cops and prime them for widespread and brutal murders, there are also SWAT team operations that employ heavy weaponry and paramilitary strategies to track down drug suspects contrary to international conventional rights on policing.( Trautwein, Catherine) Particularly the raid on Jimmy, a local dealer who is apprehended peacefully but is discovered dead in an inexplicable way. Conversely, the police officers’ motivations, justifications, and remorse for their acts are disclosed in the interviews.
The politically charged and emotive documentary `On the President’s Order` makes the case that Southeast Asia’s political economy is a symptom of the drug war in the Philippines, in addition to being a violation of human rights. ( Thompson, M. R.pp.403-428). The movie demonstrates how the ruling class is behind the drug war because they want to maintain their hold on power, deflect criticism from social and economic issues, and silence critics and dissent.
The movie also depicts how the drug war affects the underprivileged and disenfranchised groups in society, who are disproportionately affected by violence and repression and have scant access to justice, healthcare, and education.( Trautwein, Catherine)
At the same time, the movie makes the argument that Southeast Asia’s uneven and unequal development—where the advantages of neoliberalism and globalization are concentrated in the hands of a select few—is reflected in the drug war, with the majority experiencing poverty, insecurity, and environmental damage. In addition to raising concerns about the efficacy and legitimacy of the drug war, the movie asks viewers to think about other strategies for combating drug use and advancing social justice and democracy in the area.
Diversity in political regimes, development paths, and social and ecological challenges define South Asia’s political economy. Although the region’s economy has proliferated in recent years, environmental degradation, poverty, inequality, and corruption still exist. Southeast Asia’s political economy has been tarnished by the legacy of nationalism, authoritarianism, and state-led development, which produced strong but frequently unaccountable states, unequal development, and societal divisions.
The political status quo in the global south, precisely Southeast Asia, brings to light the function and struggles of social movements, the media, and civil society in opposing the state’s authority, encouraging change, and advocating for leaders to exercise responsibility preceding their interests.
The movie `On the President’s Order classically illustrates how populist leaders may mobilize public support and legitimize their authoritarian tactics using the rhetoric of law and order, nationalism, and anti-elitism. (Tatcho, et al. ) Some Southeast Asian politicians, like Prabowo Subianto in Indonesia, Thaksin Shinawatra in Thailand, and Mahathir Mohamad in Malaysia, have taken similar actions. The masses who feel left out, uneasy, and unsatisfied with the current political and economic order may find populism appealing. However, populism may also exacerbate societal tensions and divisions and threaten democracy, human rights, and the rule of law.
Subsequently, the movie also demonstrates how corruption, injustice, and poverty in the Philippines are linked to the drug war. (Thompson, M. R. pp. 403-428). The movie makes the argument that a large number of drug dealers and users are motivated by a lack of opportunity and despair and that extrajudicial killings, bribery, and extortion are commonplace among the police. This reflects the structural issues plaguing the Philippine economy, which has been marked by uneven development, high unemployment, and slow growth. The film emphasizes the glaring disparity between the rich and the poor by contrasting Makati’s skyscrapers with Manila’s slums.
The movie also poses concerns over how outside forces and influences have shaped South Asia’s political economy. The movie discusses China’s role in drug trafficking and supply to the Philippines, as well as the European Union’s and the United States’ pressure and criticism of the Duterte administration’s violations of human rights.
In conclusion, the exhilarating movie ` On the President’s Order` implies that the Philippines’ sovereignty and autonomy are in jeopardy because they are stuck between these superpowers’ conflicting agendas and interests. Many South Asian nations face this conundrum frequently as they attempt to achieve their development and security objectives while juggling their relationships with China, the US, and other regional and global players.
Work Cited
Tatcho, Orville B. Post-truth and rhetorical citizenship in the Philippines: campaigns against truth and how to fight back—the University of Alabama, 2021.
Thompson, Mark R. “Duterte’s violent populism: mass murder, political legitimacy and the “death of development” in the Philippines.” Journal of Contemporary Asia 52.3 2022: 403–428.
Trautwein, Catherine. “‘On the President’s Orders’: How Filmmakers Embedded in a Philippines Police Unit to Document Duterte’s Drug War.” Frontline, PBS, 14 June 2019, https://www.pbs.org/wgbh/frontline/article/philippines-drug-war-duterte-james-jones-olivier-sarbil/
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