Metamorphosis review: Engelbert Rafferty dissects J.E. Tiglao’s debut film, nearly an out-of-body experience as it is. Another very effective treatment for erectile dysfunction but it
Category: Festival Coverage
Cinema One Originals 2019 Review: Bulaklak sa City Jail (Restored Version)
Mario O’ Hara is a prolific character in the foundation of our nation’s own cinematic identity. His prominence goes without question as his oeuvre gave
Cinema One Originals 2019 Review: Lucid
Two years ago, Apichatpong Weerasethakul sojourned to the Philippines for almost a month and held his traveling art installation called Serenity of Madness at the
Cinema One Originals 2019 Review: Misteryo sa Tuwa (Restored Version)
What happens when a plane crashes in a peaceful barrio, and a band of unknowing accomplices find a suitcase filled with money? This conundrum bewilders a group of men in Abbo dela Cruz’s “Misteryo sa Tuwa”, dutifully restored by the ABS-CBN Film Restoration team. Read more of our review here:
QCinema 2019 review: By the Grace of God
Napakaganda ng pelikulang ‘By the Grace of God” na dinirek ni Francois Ozon. Ang pelikulang “By the Grace of God” ay tungkol sa tatlong lalaking
QCinema 2019 review: Babae at Baril
Jean Luc-Godard is reported to have said, “all you need to make a movie is a girl and a gun.” Indeed, there are many films
QCinema 2019 review: Kaaway Sa Sulod (The Enemy Within)
Sina Commander Lai at Lt. Raiza Umali (Dionne Monsanto sa dual role) ay dalawang babaeng nasa magkaibang panig na magkaiba ang paniniwala at ipinaglalaban.
QCinema 2019 review: Cleaners
This film, after all, is a collection of memories; what are memories but hazy facsimiles of our experiences?
Third World Cinema Club: Sinag Maynila Film Festival 2019
So long, farewell Sinag Maynila Film Festival 2019! We were invited by Keith Deligero, Lawrence Ang and company thru Contagious Inc. to discuss the Sinag Maynila Film
“SI CHEDENG AT SI APPLE” is that ‘tita’ who calls you fat in reunions
Chedeng (Gloria Diaz) finds her true love and Apple (Elizabeth Oropesa) gets away with murder. This is the premise of Si Chedeng at si Apple,
The messy, mundane, and other #BuhayElbi things
Submitted by Cidee Despi Each year, Pelikultura: the CALABARZON Film Festival attempts to showcase the diverse cultures of Los Baños, Laguna through the #BuhayElbi category. The
Sundance Review: “SWEET COUNTRY”, A powerful slowburn on australia’s not-so-sweet history
Warwick Thornton’s Sweet Country opens with Sam Neill’s preacher Fred Smith sharing a meal with his Aboriginal farmhands Sam and Lizzie Kelly (exceptional newcomers Hamilton Morris and Natassia
Ang Larawan
There are projects that beyond their flaws you’ve got to praise for brazenness, the amount of love put into their creation. There’s this air of
Call Me By Your Name
In “The Heptaméron”, Marguerite of Navarre asks the question: is it better to speak or to die? It’s a question that cradles us back to that thrilling, self-destructive,
Changing Partners
In the first minutes of Changing Partners, Agot Isidro’s Alex (don’t be confused, there’ll be two Alex’s here — that’s kind of the concept of the
Three Billboards Outside Ebbing, Missouri
In social psychology, there’s this concept known as moral self-licensing. Moral self-licensing is what we call the tendency of man to succeed an act of
Neomanila: Earned Redeption Failure
Warning: Full spoilers below. Neomanila has the uncanny ability to disorient. The film initially posits that in the underbellies of Manila, its inhabitants learn how
The Chanters
There’s a certain nostalgia that James Mayo’s The Chanters exudes even though set in the present, with social media frenzy playing a part in its story. The
Loving Vincent
There’s this scene from the Doctor Who episode “Vincent and The Doctor” back in 2010 where the titular doctor takes Vincent Van Gogh himself to
Ang Manananggal sa Unit 23B
There’s something inherently gothic in the pairing of romance and the supernatural — that notion of the taboo, the alienation that results from the “forbiddenness”
Kiko Boksingero
Family dramas often have the dire need to verbalize emotions via heavy-handed dramatic confrontations. Thop Nazareno‘s coming-of-age drama Kiko Boksingero spares its audience of this
