Here’s what I can tell you so far:

Long live the fury. Long live the Titas.

The villains are not abstract. General Romeo “The Termite” Guerrero is a thinly veiled caricature of a certain dictator (complete with a signature silver ring). He hoards shoes—thousands of pairs—while the poor eat cardboard. The Titas do not fight for democracy; they fight for the return of their shopping privileges . This cynical, camp-laced critique allowed the film to bypass censors who would have banned a straight political drama. After all, who takes a movie about flying, perfume-flamethrowing socialites seriously?

The film's director, Desmond Davis, had a deep understanding of the source material, having studied classical mythology. He worked closely with the cast and crew to ensure that the film remained faithful to the original myths while also making it accessible to a modern audience.

Herrera had originally pitched a straightforward social drama about wealthy matrons (the Titas of the title) losing their fortunes. However, after a late-night screening of George A. Romero’s Dawn of the Dead and a heavy dose of local folklore about the Manananggal (a mythical creature that splits its torso in two), Herrera rewrote the script in three days. The result? Furia de Titas —a wordplay that blends Spanish (“furia” meaning rage/fury) with the colloquial Filipino shortening of “Titular Matriarchs.”

If you meant —

Their mission? Not to save the country, but to reclaim their “rightful” shopping centers and haciendas from corrupt generals who seized them under the guise of “land reform.”