Ex Press (Jet Leyco, 2011)
Uneven in parts but is beautifully lensed to give us a roster of concerns relating to Philippine National Railways: from the pressing soil erosion along the rail tracks to the controversial firing of an authoritarian officer, Paliparan.
Pureza: The Story of Negros Sugar (Jay Abello, 2012)
Abello’s Pureza is regardless of your stand on the issues of the Sugar industry. It is a well-researched run-through to imminent demise of an industry monopolized by few who were in turn one-upped by the late dictator.
QWERTY (Ed Lejano, 2012)
Flaws here and there but the goodness of Qwerty is it gives you enough reasons to forgive them. A low-ranking policeman is caught in the center of power play. Very well-written and well-paced. And Lejano is in control, finally.
Tubog Sa Ginto (Lino Brocka, 1971)
Story-driven like most of Brocka’s. But it has dated since.
Aparisyon (Vincent Sandoval, 2012)
A deliberately paced examination of guilt and conscience. The serene pace belies the forceful undercurrents. It has the power to leave you taken and shaken as soon as the last frame is over.
Let This Film Serve As A Manifesto For A New Cinema (Nick Deocampo)
Recuerdos of Two Sundays and Two Roads That Lead To The Sea
Ang Magpakailanman (Raymond Red, 1982)
Technically accomplished masterwork from a 17-year old Red. A classic!
Oros (Paul Sta Ana, 2012)
Not a single false note throughout. From direction to screenplay to score to cinematography to performances! Details after details after details are piled up until they brew, potently, with life’s realities, ripe and rich, alive and breathing. Sta Ana, at the helm, avoids to go larger-than-life, as if it will cost his life to do it. Instead, he does it subtly, very careful not to create a ‘scene,’ not to catch attention, keeping it brewing underneath, like he is a true master of his craft. There is so much artistry, craftsmanship, subtlety and maturity in Oros, and the goodness of it is that they are not easily visible to the eye, not until they are fully analyzed.