Queer Childhood Sexuality in Ang Pagdadalaga ni Maximo Oliveros

Abstract

Global circulations of cinema produce intimate attachments to subjects located elsewhere, whose different lives across the distance come into proximity. The English title of the Philippine indie film Ang Pagdadalaga ni Maximo Oliveros (Auraeus Solito, 2005), The Blossoming of Maximo Oliveros, is quite beautiful yet imprecise in its translation of the original Tagalog in the worldwide release. Ang Pagdadalaga ni Maximo Oliveros literally converts to “the blossoming young womanhood of Maximo Oliveros.” The original Tagalog title is gendered: the word dalaga means young woman and the conjugation of pagdadalaga indicates becoming. To translate growing womanhood as blossoming in the sense of flowering goes beyond developing as an adult woman in the community. Flowering can also be read as a vaginal reference in the sense of burgeoning labia.1 The film is thus so much richer than its English title suggests in its representation of the adolescent child’s sexual development and how it is situated in a larger constellation of gendered identities, a complexity that I will parse for this film that circulates widely in Filipinx and queer diasporas today.