Lauren Greenfield’s portrait of Imelda Marcos is a picture of excess, both financial and political
When the dictatorship of Philippine PresidentFerdinand Marcos was collapsing in 1986, looters ransacked the presidential residence, including the closets of first lady Imelda Marcos. “They found no skeletons,” a simpering Mrs. Marcos tells director Lauren Greenfield, “only beautiful shoes.
” It’s a startlingly candid, cloying moment, one of many that populate Ms. Greenfield’s “The Kingmaker,” whose subject presents herself as many things: profoundly clueless about her own campiness; oblivious to the kleptocracy that distinguished the Marcos regime; unaware that the media she once manipulated so handily have become so...
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