By Alexis A. Tioseco The brand of social realism espoused by the better films of Lino Brocka (Manila in the Claws of Neon, 1975; Insiang, 1976; Orapronobis, 1989), has become the dominant form of socially conscious filmmaking in the Philippines over the past four decades. This form of filmmaking was important for its time: when…