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Several films today include the narratives of Muslim communities. Due to the vast array of movies on the subject, Muslim communities’ representation has opened many representations and interpretations, whether positive or negative. The independent film “Women of the Weeping River” (WOTWR), by Sheron Dayoc, is one of the many indie films in the Philippines that includes the Muslim community. Using the lenses of Stuart Hall (1997) “Theory of Representation,” the researchers focused on how producers utilize elements of the film in crafting their representations towards cultural groups. This study focuses on this film to elaborate the potential of independent cinema in terms of minorities and highlight social issues. In the case of WOTWR, the study also emphasizes how the Muslim community throughout the film also portrays Islamic women and the film’s influence regarding the formation of viewers’ perspectives towards the selected cultural group. Through an analysis of WOTWR, this study also aims to discuss how indie films can break away and are capable of breaking away and alluding to mainstream cinema milestones. Several frameworks like Yihan Wang’s “Ethnic Boundary and Literature/Image Representation,” Mark B. Feldman and Hsuan L. Hsu’s “Introduction: Race, Environment, and Representation,” and Karin Hamm-Ehsani’s “Intersections: Issues of National, Ethnic, and Sexual Identity in Kutlug Ataman’s Berlin Film Lola und Bilidikid,” were utilized in close reading, providing the reader with several perspectives. The study proved that independent film such as WOTWR is a powerful tool when it comes to representation because of having the privilege of autonomy.

On Women of Rido: A Film Analysis of “Women of The Weeping River” by Sheron Dayoc (2016) Through the Lens of Hamm-Ehsani, Wang, Feldman, and Hsu