The Philippines has witnessed the worst of what people can do to acquire power —massacres, election fraud, fathers turning against sons, brothers betraying brothers. The quest for political office has often been bloody and deceitful. In the hands of good people, power paves the way for reforms; in the hands of the evil, power corrupts.

But what if the Philippines was never colonized? What kind of leaders would we have? What kind of society would emerge? These are the key questions posed by The Kingdom, an official entry to the 50th Metro Manila Film Festival (MMFF).

The Kingdom reimagines what our country might be if we never succumbed to colonizers. It is perhaps the most ambitious project in this year’s MMFF lineup, exploring a never-before-seen concept in Philippine cinema.

Director Mike Tuviera, who co-wrote the screenplay with Michelle Ngu-Nario, envisions the archipelago as the Kingdom of Kalayaan, a nation united under one ruler. Instead of a unitary presidential republic, this fictional country adopts a constitutional monarchy, with Lakan Makisig Nandula (Vic Sotto) as head of state and a prime minister as head of government — akin to the system in the United Kingdom. Manila remains the seat of power, and the Lakan enjoys a life of luxury that often leads to excesses, justified by the belief that their bloodline descends from Bathala (God).

As king, Lakan is expected to uphold the kingdom’s belief system, including the principle of “mata sa mata, ngipin sa ngipin” (an eye for an eye, a tooth for a tooth). For one, he is tasked to impose the punishment of death on whoever is convicted of murder.

In this reimagined world, social classes are signified by tattoos. The more elaborate the tattoos, the higher one’s social status. Outcasts — such as those with unpaid debts or relatives who committed crimes against the royal family — are excluded and scorned by society. Much like in present-day Philippines, the wealthy enjoys comfort and luxury while the poor survives on scraps. It is no surprise that the marginalized join the separatist movement, backed by those seeking to occupy the highest seat of the land.

This alternate reality holds up a mirror to uncomfortable truths about power in the Philippines. The Kingdom revolves around the royal family’s struggle for control, particularly among Lakan’s children: Magat Bagwis (Sid Lucero), Dayang Matimyas (Cristine Reyes), and Dayang Lualhati (Sue Ramirez). Ultimately, the film shows that as long as humanity remains obsessed with the pursuit of power, political instability and inequality will persist — regardless of the form of government.

One of the film’s greatest strengths is its production design, thanks to Nestor Abrogena. His work makes the fictional Kingdom of Kalayaan feel lived-in, distinctly Filipino, and culturally rich. The kingdom’s identity is conveyed not just through words or language but also through its visual storytelling — from the intricate tattoos symbolizing social hierarchy to the carefully designed national flag, accessories, and clothing. The costumes blend traditional pre-colonial elements with modern touches, creating a unique aesthetic that feels both familiar and otherworldly.

What makes The Kingdom stand out is how it shows power as a double-edged sword. As shown in the film, the throne is not as glamorous as it seems to be for it shackles those who sit on it. This is especially true for the Lakan, who is bound by the traditions and values he has sworn to uphold.

Under Tuviera's direction, Vic delivers a compelling performance as Lakan. He portrays a seasoned monarch, a man torn between the divine right to rule and the human need to love and protect his family. Vic shines in his quiet moments of grief, revealing a flawed ruler and father grappling with the weight of tradition and his own shortcomings.

How the narrative unfolds, given Lakan’s inner turmoil and the complex dynamics between his children, is for viewers to discover. But what thing is for sure: it is an eye-opening and thought-provoking story about what we could have been as a nation and what, perhaps, will always remain the same.

The Kingdom is still showing in cinemas nationwide.