More than brave, more than bold, Shugo Praico’s Drug War arrives as a fierce, unflinching exploration of a dark chapter in Philippine history.
It is a vital piece of television that directly confronts how state-sponsored violence of the Duterte administration dismantled the laylayan, or the poorest of the poor.
Remarkably, Drug War stands as the first major fictionalized retelling to look back at the lingering, generational trauma of Oplan Tokhang.
While Brillante Mendoza’s 2018 Netflix series Amo addressed the subject during the height of the campaign, critics argued that it closely echoed the government’s official narrative.
Praico’s six-part limited prestige drama, co-produced by Rein Entertainment and KC Global Media, offers no such compromise.
It is an honest, devastating autopsy of a nationwide tragedy.
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THE PLOT
The pilot episode introduces Father Tom (Ian Veneracion), a devoted priest running a rehabilitation program on a quiet, isolated island.
The fragile peace of his community is shattered by the arrival of Kiko (Harvey Bautista), a deeply traumatized teenager fleeing the blood-soaked streets of Manila after losing a loved one to the Tokhang operations.
When an unfamiliar, aggressive police presence infiltrates the island, the parish’s reform advocacy is instantly jeopardized.
Following a tragic turn of events that upends the community, Father Tom is forced to step away from his sanctuary and explore the deepest darkness to uncover the grim truth behind Kiko’s past and the forces pursuing him.
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AN ACTING MASTERCLASS
The emotional weight of the series rests on the shoulders of an exceptional cast, all performing at a premier level.
Ian Veneracion delivers a profound performance as Father Tom Carillo, capturing a slow, agonizing psychological decay.
He beautifully embodies a man of God whose rigid worldview is systematically dismantled by the horrors of the drug war, representing a tragic descent from light into darkness.
Harvey Bautista is brilliant as Kiko.
The showbiz newcomer offers a raw, gritty, and utterly believable portrayal of a recovering addict.
His performance is stripped of glamor, grounded in visceral desperation, and highly impressive during the high-octane action sequences.
The supporting cast also deserves praise.
As Kiko's father, Romnick Sarmenta is exceptional, grounding the family tragedy in a quiet dignity that represents the helplessness of Filipino parents during the era.
Yayo Aguila’s desperation to save her son Kiko is honestly heartbreaking.
Heavyweights Jane De Leon, Joem Bascon, and Ryan Eigenmann already show promise, but would probably shine more in the next episodes.
VISUAL WARFARE
Of course, the most accolades should go to Praico, who has written and directed another masterpiece after his critically-acclaimed political drama The Bagman in 2025.
Here, his use of varying aspect ratios sustains tension throughout the pilot.
Praico claustrophobically traps the audience in a 4:3 aspect ratio during moments of violence and state terror.
The effect is deliberately oppressive, forcing the viewer uncomfortably close to the grit and fear of the characters.
It strips away any sense of safety, inducing a palpable anxiety that hooks the audience from the very first second.
When the frame finally breathes out into a 16:9 widescreen format, it provides a necessary, sigh-inducing relief, allowing viewers a moment to process the intensity.
The staging of the action is expertly executed, ensuring that the stylistic choices always serve the emotional truth of the narrative.
A MUST-WATCH
Ultimately, Drug War is an absolute must-watch
It is a timely, politically vital piece of art that demands to be seen by everyone.
Following its private Metro Manila premiere, Rein Entertainment and KC Global Media is currently finalizing Drug War’s global and local streaming distribution.
Let’s hope they can make the announcement soon.