The film portrays Ferdinand Magellan’s marriage to Beatriz Barbosa in Seville in 1517, focusing on their brief time together before his departure on the Spanish Crown’s ambitious expedition.
Set in the 16th century, the story follows Magellan—a young, ambitious Portuguese navigator—who rebels against the authority of the Portuguese King, unwilling to abandon his dream of discovering new worlds. Instead, he turns to the Spanish monarchy, persuading them to support his bold voyage to the fabled lands of the East.
Gael García Bernal delivers a heartfelt, commanding performance as Magellan. Ronnie Lazaro as Raha Humabon and Bong Cabrera as Raja Kulambo also stand out, proving once again why they are among the most dependable actors in Philippine cinema.
As expected, the film carries the signature style of Lav Diaz—slow, meditative, and deeply reflective. The first part delves into Magellan’s personal life, including an affair with a woman who becomes pregnant before his departure. She later confesses, while he is already at sea, that she miscarried. Diaz injects more creativity here than in some of his earlier works, especially in the cinematography of Magellan’s story. Unlike his usual static, extended shots, there’s a refreshing variety of framing and movement, although the Philippine scenes retain his familiar style.
The production design also deserves credit. At first glance, the interiors looked like they were shot inside Pinto Art Museum with its arches and rooftops, but the detailed sets suggest otherwise. The ship scenes are particularly impressive—they effectively capture the claustrophobic, suffocating conditions of long voyages, even depicting the sexual tensions among sailors. The beach sequences, shot in Quezon (though Magellan historically landed in Cebu), are strikingly raw, with lush greenery and untouched scenery that lend authenticity to the setting.
The second half of the film shifts to Magellan’s arrival in the Philippines. As historical accounts suggest, he and his men introduced Christianity, burned indigenous idols, and replaced old beliefs with new rituals—most notably the image of the Santo Niño. Diaz does not shy away from depicting the nudity of native extras, contrasting it with the regal attire of Humabon, Kulambo, and their allies.
Interestingly, the film questions the very existence of Lapu-Lapu, presenting him not as a historical figure but as a myth invented to embody resistance against Spanish conquest. This bold narrative choice reframes the Battle of Mactan as a constructed legend rather than a factual uprising.
In the end, Magellan is a film that might also resonate strongly in a more concise form, though its length allows for a deeper immersion into Lav Diaz’s signature storytelling style. While its pacing occasionally drags, Diaz still deserves credit for transforming this controversial chapter of history into an ambitious cinematic experience.
My Verdict: 3.5/5
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