“I suggested that he pack up that evening’s schedule, but he refused, saying he didn’t want his dad to feel he was affected by their earlier conversation. So when cinematographer Pancho went back to supervising the lighting set up, I whispered to our director: ‘I can faint on cue.’ He asked, ‘How?’
“Crossing over to the bar where Christopher de Leon, Danny Javier, Boboy Garovillo and I were supposed to be seated, I gestured to Mike how I could stand on tiptoe with one foot, and from there, glide down to the floor as if I’d really fainted. Mike first wanted to make sure I wouldn’t get hurt, and when I assured him I knew what I was doing, he whispered: ‘Just don’t get hurt, OK? And also, do your fainting bit before the scene starts, so we don’t have to pay the extras in the background.’
“I nodded. When Mike went ‘Motor!’ that was my cue. I ‘fainted,’ sliding down all the way to the floor. Shooting didn’t push through; Mike sent every one home except for Pancho, his secretary Marietta Sta. Juana and me, so that I could ‘rest.’”
Film companies, institutions and cultural bodies also paid tribute to a filmmaker who was both innovator and guardian of the country’s cinematic heritage.
“Paalam at salamat, Direk Mike!” wrote GMA Pictures, calling him “one of Philippine cinema’s most brilliant filmmakers, known for stories that confront social issues and amplify the voices of the marginalized.” They highlighted his celebrated works as a cinematographer and director — from Maynila sa mga Kuko ng Liwanag to Sister Stella L., Itim, Batch ’81, and Kakabakaba Ka Ba? — all of which continue to inspire audiences across generations. They also recalled his return with Citizen Jake in 2018, “after nearly two decades away from the director’s chair,” calling the film “a powerful story about truth, power, and social justice.”
Regal Entertainment, Inc., the latest iteration of Regal Films, said, “His collaboration with us in Sister Stella L. (1984) remains a bold testament to his unmatched artistry and courage — bringing social realism and political commentary into the heart of Philippine cinema.”
“Direk Mike pushed boundaries and inspired generations. We honor his legacy with deepest gratitude. May his passion continue to stir every frame and every soul,” they added.
The Film Development Council of the Philippines (FDCP) described him as “the genius behind generation-defining cinematic classics Itim (1976), Kisapmata (1981), Batch ‘81 (1982), Sister Stella L (1984), and Citizen Jake (2018)” and that he “shone a light on the beauty and pain of the downtrodden and repressed, bringing their stories to the cultural forefront.”
FDCP chairman, the scriptwriter and filmmaker Jose Javier Reyes, declared that his “life was dedicated to film. His consistent imagination to explore the language of cinema shaped what we understand of Philippine filmmaking today.”
The University of the Philippines (UP) Film Institute also expressed profound loss: “UPFI mourns with the rest of the film industry and artistic community the passing of Mike de Leon — the award-winning director of a string of acclaimed films from the time of Itim, his debut in 1976.” They honored him as a scion of the De Leon clan who helped build LVN and elevate Philippine cinema’s golden age. They recalled the rare feat of having Kisapmata and Batch ’81 screened together at Cannes’ Directors’ Fortnight, his 2022 memoir Last Look Back, and the 2023 Blu-ray box set of his works produced by Carlotta Films in Paris. At the time of his passing, he was awaiting the 4K restoration of Sister Stella L. at L’Immagine Ritrovata in Bologna. For UPFI, his numerous screenings at their Film Center sparked “significant discussions about cinema and its relation to Philippine history, culture and politics.”
The Cultural Center of the Philippines (CCP) joined the nation in mourning: “He leaves behind a body of work that helped shape Philippine cinema and continues to inspire countless filmmakers and audiences alike.” The CCP singled out Kisapmata, Batch ’81 and Sister Stella L. for their piercing depictions of social and political realities, all recognized among the Ten Best Films of the Decade (1980–1989) by the Manunuri ng Pelikulang Pilipino. They added: “His invaluable contributions and generosity to the Philippine film industry will always be remembered.”
The National Commission for Culture and the Arts described De Leon as “a visionary filmmaker whose uncompromising artistry reshaped Philippine cinema.” They recalled how his earliest works, Itim and Kung Mangarap Ka’t Magising, signaled the arrival of a major talent, and how his defining films bravely confronted authoritarianism and social unrest. They emphasized that his legacy lies not just in accolades but in “the conscience he gave to cinema — a mirror of truth, memory, and nationhood. His light endures through the films he leaves behind.”
