AMO

AMO (which translates to 'Boss') is a hard-hitting crime drama series originating from the Philippines, streamed globally on Netflix. The show premiered in 2018 and is the first Netflix series from the country, giving an insight into the notorious war on drugs waged in the Philippines, seen through the eyes of a high school student.

The creator behind this thrilling, grim show is none other than the renowned Filipino filmmaker Brillante Mendoza, a recipient of several international film awards, attesting to his expertise in creating gritty, realistic narratives. Mendoza also directs this series, applying his visionary flair for capturing the authenticity and rawness of life to the atmospheric storytelling of AMO.

The primary narrative of AMO revolves around Joseph, an ordinary high school student who gets embroiled unknowingly in the perilous underworld of drug trafficking. Despite being a minor, Joseph’s story unveils how he sinks deeper into this dangerous world, prompted by poverty and circumstances. The show explicitly displays Joseph's transformation from an average school-going teenager to a drug courier, illustrating the multi-dimensional aspects of drug activities in the country.

While the central plot is focused on the high school adolescent, AMO also presents a myriad of other characters from completely different backgrounds, including police officers, drug lords, pushers, and users. Through a realistic display of these characters, it provides a broader outlook on the society ingrained in the drug business. Interestingly, the narrative is not centered on one viewpoint, but pivots around many perspectives to construct a comprehensive picture of the situation unfolding in the country.

AMO unabashedly portrays the stark reality of the rampant drug situation in the Philippines, highlighting the socio-political environment impacted by this crisis. A significant part of the narrative is dedicated to showcasing the unflinching severity of the ongoing war on drugs. It is known to depict scenes of violence and the shambled lives of people affected by the drug crisis, which is certainly not for the faint-hearted.

The show captures the dark side of how the world surrounding drugs and crime might operate, seldom glamorizing or romanticizing any aspect of it. It portrays the pervasiveness of corruption, the loss of basic human rights, and the depths some human beings are forced to stoop to merely for survival, instances that are inspired by real-life events in the country.

AMO also has a political voice and is likely to trigger conversations on the socio-political settings, enhancing the understanding and awareness about the drug crisis globally. It endeavors to throw light on the controversial issues, including vigilantism, extrajudicial killings, and human rights abuses that are embedded in the struggle against illegal drugs, without taking any sides or imparting judgments.

Technically, the series preserves the naturalistic style of shooting, with tight cinematography that frames its characters firmly within their surroundings, often giving a sense of confinement and inevitability. The performances by the cast, majority of them being local actors, contribute a realness to their characters, reflected through stark emotions and dialogue delivery.

AMO impressively manages to maintain a gripping narrative across its 13 episodes, providing an immersive experience to the audience. Each episode builds upon the previous one, culminating in a climax that leaves the audience on the edge of their seats. By evoking a myriad of emotions, the plot remains engaging, providing glimpses into the harsh realities of life in a world riddled with crime and drugs.

In essence, AMO boldly delves into the underbelly of the Philippine society through the lens of a high school student turned drug courier. An intense portrayal of the prevailing drug scenario, the show offers a gripping narrative that is gritty and uncompromising in its realism. For those seeking an intriguing, ground reality-driven series, AMO is certainly worth a watch.