Category Archives: Full review

Ari: My Life with a King (Carlo Catu, 2015)

The bulk of Carlo Enciso Catu’s full-length debut, Ari: My Life with a King  – and may be its weighty and telling part – is the first act where he introduces his ambitions, among which is to elevate the language, and

Ari: My Life with a King (Carlo Catu, 2015)

The bulk of Carlo Enciso Catu’s full-length debut, Ari: My Life with a King  – and may be its weighty and telling part – is the first act where he introduces his ambitions, among which is to elevate the language, and

Imbisibol (Lawrence Fajardo, 2015)

Imbisibol, the one-act-play, has everything happened one day when Benjie and Manuel chance upon each other at Linda’s house. The banter that ensues between two guests let us peek into their personal lives; until Linda distributes their letters, and we

Imbisibol (Lawrence Fajardo, 2015)

Imbisibol, the one-act-play, has everything happened one day when Benjie and Manuel chance upon each other at Linda’s house. The banter that ensues between two guests let us peek into their personal lives; until Linda distributes their letters, and we

Bambanti (Zig Dulay, 2015)

Zig Dulay’s Bambanti reveals a gold wristwatch is stolen at a rather late second third of the film but before that it takes time on mandatory exposition that shows one family, Belyn’s, struggling to survive. She is deep in debts

Bambanti (Zig Dulay, 2015)

Zig Dulay’s Bambanti reveals a gold wristwatch is stolen at a rather late second third of the film but before that it takes time on mandatory exposition that shows one family, Belyn’s, struggling to survive. She is deep in debts

Dementia (Perci Intalan, 2014)

Nora Aunor’s turn in Dementia is more of a reminder how innately gifted she is as a thespian. This reminder is what fuels her here. See how she conveys myriad of emotions in one scene when she finally remembers the

Dementia (Perci Intalan, 2014)

Nora Aunor’s turn in Dementia is more of a reminder how innately gifted she is as a thespian. This reminder is what fuels her here. See how she conveys myriad of emotions in one scene when she finally remembers the

Sitio (Mes de Guzman, 2013)

Mes de Guzman’s films are deliberately situated and ethnography has become some kind of impetus to his film materials. This is not true for Sitio where topography of the milieu – I assume Nueva Vizcaya – could be just any

Sitio (Mes de Guzman, 2013)

Mes de Guzman’s films are deliberately situated and ethnography has become some kind of impetus to his film materials. This is not true for Sitio where topography of the milieu – I assume Nueva Vizcaya – could be just any

Ang Kwento ni Mabuti (Mes de Guzman, 2013)

In Mes de Guzman’s Ang Kwento ni Mabuti, narrative progression is spare and monotony and nothingness are the point. Nothing happens in the first half of the film, and that is deliberate. The story to which everything clings to is

Ang Kwento ni Mabuti (Mes de Guzman, 2013)

In Mes de Guzman’s Ang Kwento ni Mabuti, narrative progression is spare and monotony and nothingness are the point. Nothing happens in the first half of the film, and that is deliberate. The story to which everything clings to is

Pascalina (Pam Miras, 2012)

The opening scene gives us an outright characterization: Pascalina is careless, leaves her boarding house for work with the tap running. If that’s any indication, the film will be a character-study. Is it? What follows is an elaborate introduction to

Pascalina (Pam Miras, 2012)

The opening scene gives us an outright characterization: Pascalina is careless, leaves her boarding house for work with the tap running. If that’s any indication, the film will be a character-study. Is it? What follows is an elaborate introduction to