Among those who gave the eulogy for the state necrological service held for National Artist for Film and Broadcast Arts and Superstar Nora Aunor, was fellow National Artist and award-winning writer Ricky Lee, at the Metropolitan Theater in Manila on Tuesday, April 22.

Ricky Lee wrote the script and was behind Ate Guy’s iconic movie “Himala.”

Lee described Ate Guy as a “rebel” because the late National Artist broke the “status quo” when it came to actresses who acted in films; that the only ones considered “beautiful” were tall and fair-skinned.

The writer also said that Nora’s fans, especially domestic helpers abroad, actually cry when they catch a glimpse of their idol. Lee said he wondered why the Superstar had such an effect on them. He realized that perhaps they see themselves in the image of Ate Guy. “Guy was a rebel. For seven decades, he fought the status quo. He changed the colonial view that said that white and tall women were beautiful in white. He played the role of a woman who was fierce and realistic… he broke and changed many beliefs…” was part of Lee’s statement.

After the necro service, Nora’s remains will be taken to their final destination at the Libingan ng mga Bayani in Taguig.

Renowned screenwriter Ricky Lee made headlines after referring to the late Nora Aunor as a “rebel” during a heartfelt tribute following her passing. But far from a derogatory label, Lee’s description was a celebration of Aunor’s fearless spirit, her refusal to conform, and her unapologetic authenticity—qualities that made her not just a legendary actress, but a revolutionary force in Philippine cinema.

“She was a rebel—not in the destructive sense, but in the way only true artists can be,” Ricky Lee shared during a memorial gathering. “She broke rules not to offend, but to express something real. And in doing so, she changed the industry.”

Lee and Aunor shared a creative partnership that shaped many iconic Filipino films. From the intense drama of Himala to quieter, character-driven stories, their work together reflected the deep social issues of the country. According to Lee, Aunor’s ability to challenge norms, both on-screen and off, was what made her a national treasure.

He recalled how Nora would often question scripts, suggest changes, or take on roles others wouldn’t dare attempt. She played women who were flawed, complex, and painfully human—at a time when the industry demanded pretty faces and shallow lines. Nora refused to be boxed in.

“She was never scared to be ugly on screen, to look poor, to play characters that hurt people. That’s not vanity. That’s honesty,” Lee emphasized.

Her rebellion was also personal. As someone who came from humble beginnings—a water vendor with no connections—she fought her way up in an elitist industry and earned the respect of peers and critics alike through sheer talent and grit. Her life story was a kind of rebellion in itself.

Lee also hinted that Nora’s refusal to play along with power structures in showbiz and politics cost her opportunities, but it never broke her. “She would rather be silent than fake. She would rather walk away than lie to her audience. That was her integrity.”

As the country continues to mourn Nora Aunor’s passing, Ricky Lee’s words served not only as a tribute but also a reminder—that the true role of an artist is not to please, but to provoke, to reflect reality, and to rebel against injustice in all its forms.

“She didn’t just act,” Lee concluded. “She fought—with every line, every role, every silence. And that’s why she mattered.”