Revisit the rich heritage of Philippine cinema as we list down the

legendary Filipino filmmakers and their iconic films that still prove
relevant to this day

14
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Celerating it 100 ear, Philippine cinema ha een haped over time  the

ingenuit of legendar filmmaker. With their materful direction, the

catapulted the career of iconic actor and actree into tardom and, more

importantl, hocaed Filipino culture and the truggle of our nation. Their

film, ome of hich have een retored and reintroduced to the ounger

generation, continue to e relevant toda. 

From local aard like FAMA and Urian to pretigiou international aard-

giving odie like Canne, erlinale, and the Venice International Film

Fetival, thee filmmaker have conquered the film indutr and made ure

that the door ould remain open for their protégé and the udding film

director the have inpired:

Read more: 10 Iconic Film That haped Philippine Cinema

1. MANUEL CONDE
ABOVE Photo: Emmanuel Rojas / Courtesy of Nene Urbano (from Daily Tribune)

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Notale ork: Genghi Khan (1950), Iong Adarna (1941), Ang Iong

Adarna (1955), Juan Tamad film erie (1947 to 1963), Prinipe Teñoo

(1954), iete Infante de Lara (1950, and remake in 1973), Molave (1961)

A one of the igget name in the film indutr during it golden age in the

'50, Manuel Conde a the firt to ring Philippine cinema to the

international tage ith hi epic film Genghi Khan at the 1952 Venice Film

Fetival. Cited for it technical achievement, the film a alo ell received at

the 1952 dinurgh Film Fetival. It hocae Conde' reourcefulne and

the creativit of hi co-director and co-actor Lou alvador and hi production

deigner Carlo "otong" Francico, ho a eventuall conferred a a

National Artit.

Manuel Conde (orn Manuel Urano) had initiall ued the creen name Juan

Urano in the 1930. He came from Daet, Camarine Norte and releaed hi

firt film entitled Mahiagang iolin in 1935. He a a prolific actor,

director, and producer, and a knon for uccefull finihing film of epic

cale in term of production deign depite hoe-tring udget. 

He died in 1985 and a conferred the title of National Artit for Cinema in

2009, among hi other pretigiou accolade.

2. GERARDO DE LEON
ABOVE Image: Courtesy of the Cultural Centre of the Philippines

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Notale ork: Noli Me Tangere (1961), l Filiuterimo (1962), ia (1951),

anaue: taira to the k (1975), Deeel (1953), Pedro Penduko (1954),

and American-financed cult horror film in the 1960 like Terror i a Man

(1959), ride of lood (1968), and Mad Doctor of lood Iland (1969),

among other

Gerardo de Leon, orn a Gerardo Ilagan, a a medical doctor  profeion

ut hi paion for film art led him to hi prolific career a an actor and

director. Hi firt jo a a a pianit at the Cine Moderno in Quiapo, Manila,

here he plaed muical core for ilent film.

During World War II, he a one of man director ho made propaganda

film commiioned  the occuping Japanee force, hich led to hi arret

for charge of treaon after the ar. When evidence of hi aitance to Filipino

reel came forth, he a pardoned and eventuall ecame one of the mot

ucceful director during Philippine cinema' golden age.

eide hi aard-inning film aed on ook and erial comic, he a alo

knon for American laher film in the '60, to of hich he co-directed ith
knon for American laher film in the '60, to of hich he co-directed ith

another prolific director, ddie Romero. When ex film ere the craze during

the '70, he a hired  "The Pope of Pop Cinema" Roger Corman to direct

Women in Cage (1971) hich featured iconic actree Pam Grier and ofia

Moran.

De Leon died in 1981 and immediatel a ear later a conferred a National

Artit for Cinema.

3. LAMBERTO AVELLANA
ABOVE Image: From the personal archive of Lamberto Avellana / Philippine News Agency

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Notale ork: Anak Dalita (1956), adjao (1957), Kandelerong Pilak

(1954), Kundiman ng Lahi (1959), A Portrait of the Artit a Filipino

(1965), and international film that had orldide releae like ergeant

Haan (1958), Detination: Vietnam (1968), The vil Within (1970)

Nicknamed a "The o Wonder of Philippine Movie", Lamerto Avellana

a knon to e the firt Filipino director to ue film camera to etalih a

point-of-vie. He tarted hi prolific career in theatre ith hi future ife

and National Artit Dai Hontivero-Avellana. Hi firt film aka (1939),

hocaed hi unique filmmaking tle imitated  uequent director.

Hi ditinctive achievement tarted ith Anak Dalita, hich received

Grand Prix at the Aia-Pacific Film Fetival in Hong Kong. He alo earned

the et Director of Aia aard in Toko for hi film adjao. Mot notal,

Avellana a the firt film director in the countr to have hi film hon at

the Canne International Film Fetival ith ar romance film Kandelerong

Pilak.

With hi international ucce, credited to hi treatment of torie ith

three-dimenional character that at the time a unheard of in Philippine

cinema, he a hired  ig tudio from Hollood and other Aian

countrie to do film. The lit include argeant Haan, a Malaian film

ith actor P. Ramlee, The vil Within, a Jame ond-inpired film he

created ith Indian actor Dev Anand, and Detination: Vietnam, the firt

Filipino film in Cinemacope.

In 1976, Avellana a conferred National Artit for Theatre and Film. He

died in 1991.
4. EDDIE ROMERO

ABOVE Photo: Wig Tysmans

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Notale ork: Ganito Kami Noon... Paano Kao Ngaon? (1976), anta

ng Kahapon (1977), Aguila (1980), Kamakalaa (1981), and the televiion

erie Noli Me Tangere (1992) commiioned  the Cultural Centre of the

Philippine. Like Gerardo de Leon, Romero alo created American film in

the '60 and '70, mot memorale ere "omen in prion" film

like lack Mama, White Mama (1972) and avage iter (1974), to name a
like lack Mama, White Mama (1972) and avage iter (1974), to name a

fe

ddie Romero tarted a a creenriter efore ecoming one of Philippine

film indutr' mot influential director. Amitiou, et practical, Romero'

ditinctive tle i cited a imple and minimalit et carr enormou depth

ith precie execution.

Hi film Ganito Kami Noon…Paano Kao Ngaon?, et during the turn-of-

the-centur revolution againt the paniard and American, follo a naïve

peaant through hi leap of faith to ecome a memer of an imagined

communit—the Philippine nation.

Aguila ituate a famil’ tor againt the ackdrop of the countr’

hitor. Kamakalaa explore the folkloric literature of prehitoric

Philippine. anta ng Kahapon, hi ‘mall’ political film, i et againt the

turmoil of the late 1960, tracing the connection of the underorld to the

corrupt hall of politic. Hi 13-part erie of Noli Me Tangere ring the

national hero’ polemic novel to a ne generation of vieer.

Romero a alo knon for hi cult horror film in the '60, oftentime

hoing in drive-in cinema in the U. Hi "lood Iland" film trilog a

co-produced  Hemiphere Picture, ut Romero a quoted in an

intervie in hi tilight ear to having hated doing thoe.

He a conferred National Artit for Film in 2003 and died in 2013.

5. LINO BROCKA
ABOVE Filipino film director Lino Brocka. (Photo by Andy Hernandez/Sygma/Sygma via Getty Images)

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Notale ork: Wanted: Perfect Mother (1970), Tinimang ka Ngunit Kulang

(1974), Manila a mga Kuko ng Lianag (1975), Iniang (1976), Jaguar

(1979), ona (1980), aan Ko: Kapit a Patalim (1984), Orapronoi (1989)

Catalino "Lino" Ortiz rocka a a director for film and roadcat art ho

a knon for hi ocial activim that a heavil reflected in almot all of hi

film. Hi movie depicted the marginalied ector of ociet and he hocaed

hi paionate effort to fight for the right of orker in the theatre, film and

televiion.

Hi materpiece garnered him local and international recognition. Folloing

Avellana' foottep, hi ork have een hocaed at the Canne Film

Fetival. Conidered  man film critic and foreign filmmaker a the et

Philippine film, Manila a Mga Kuko Ng Lianag hed light to a oung

provincial man' aakening to the harh realitie of the life in Metro Manila,

hich i drenched in povert, corruption, and protitution. The film a under

the cinematograph of Mike de Leon, another notale Filipino filmmaker.

Iniang, another film of rocka depicting the povert-tricken metropoli, a

the firt film ince Kandelerong Pilak to e hon at Canne. Jaguar, another

Canne entr, a nominated for the Palme d'Or and locall agged the

highet aard in FAMA and Urian.

Read alo: Criticall Acclaimed Filipino Film You Ought To Kno

Hi provocative film like aan Ko and Macho Dancer (1988), during the
dictatorhip of the late Preident Ferdinand Marco ere deemed  the regime

a uverive, ut till made it to the ig creen and earned praie from

critic. aan Ko a hon at the Canne and nominated for the Palme d'Or

hile Macho Dancer' uncenored 35mm film print a muggled to the

Mueum of Modern Art.

rocka died in a fatal car accident in 1991 and a pothumoul conferred

National Artit for Film / roadcat Art in 1997.

6. ISHMAEL BERNAL

ABOVE Photo from the book "Pro Bernal, Anti Bio" / ABS-CBN Publishing (taken from everythingsfineph.com)

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Notale ork: Himala (1982), Cit After Dark / Manila  Night

(1980), Pagdating a Dulo (1971), Nunal a Tuig (1976), Ika a Akin

(1978), Hinugot a Langit (1985), Working Girl I (1984) and Working Girl

II (1987), roken Marriage (1983), Relaon (1982)

Ihmael ernal i knon for hi melodramatic depiction of feminit and moral
Ihmael ernal i knon for hi melodramatic depiction of feminit and moral

iue. Hi film ranged from enile independent film to maintream ox-

office hit. He finihed a achelor of Art in nglih at the Univerit of the

Philippine and orked ith Lamerto Avellana in hi documentar film

tudio. He later tudied French literature and philooph in France and

received a diploma for film directing in India. When he returned to the

Philippine, at the time hen the o-called "oma" and action movie ere

ankale project in the indutr, he changed the game ith hi deut film,

Pagdating a Dulo, hich depicted the harh realitie of the live of celeritie

and the film indutr itelf.

Hi road range of film genre and theme gave him opportunitie to create

experimental materpiece like Nunal a Tuig and Himala, ophiticated

comedie like Paling (1981) and the to Working Girl film, a ell a

contemporar drama like Ika A Akin and Relaon, among other, that

haped Philippine drama in film, televiion, and radio a after hi prime. Like

Lino rocka, he a alo knon a one of man artit ho tried to def the

regime ith their craft. Mot notale of hi ocial commentar film a Cit

After Dark (originall titled a Manila  Night) that explored the prolem of

the cit and the Marco regime from peronal point-of-vie of interconnected

character.

In 1999, three of hi film ere hon at the Lincoln Centre in Ne York in

celeration of the 100 ear of Philippine independence. Hi

materpiece Himala a aarded in 2008 the Vieer Choice Aard for et

Aia-Pacific Film of all time  the CNN Aia Pacific creen Aard. ernal

died in 1996 and a conferred National Artit for Cinema in 2001.

7. KIDLAT TAHIMIK
ABOVE PHOTO: Art Fair Philippines

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Notale ork: Perfumed Nightmare (1977), Turuma (1983), Wh I Yello

The Middle Of The Raino (1989 and 1994), alikaan #1: Memorie Of

Overdevelopment (Redux III, 2015; Redux VI, 2017)

Although motl knon  toda' generation for hi ociall and culturall

relevant intallation art materpiece, Kidlat Tahimik i firt and foremot

conidered a the "Father of Philippine Independent Cinema". orn a ric

Oteza de Guia, Kidlat Tahimik ha ritten, tarred in, and directed

independent hort and full-length film ince the '70. orn and raied in

aguio, ome of hi earliet film ere critical of gloaliation, uraniation,

and the quinteential exploration of the Filipino identit.

Kidlat Tahimik attended the Univerit of the Philippine and eventuall at the

Univerit of Pennlvania' Wharton chool. Hi experience living in aguio,

hich had a heav preence of U militar ae during hi childhood,

influenced hi film, Turuma , and a emi-autoiographical Perfumed

Nightmare, hich on et Documentar Film at the erlinale. 

Hi alikaan #1: Memorie of Overdevelopment depicted the coloniation of

the Philippine from a different and omehat mthic perpective of the

character nrique of Malacca. The latter part of the film explore theme of

indutrialiation in the countr that ha lot it ene of hitor. Thi film took

decade to e completed and ith the help of hi friend, ife Katrin, and

children Kidlat Gottlie, Kaaan Thor, and Kaunian. He alo acted in fe
children Kidlat Gottlie, Kaaan Thor, and Kaunian. He alo acted in fe

film (ome hi), like Marilou Diaz-Aaa' Joe Rizal (1998).

He ha garnered variou accolade locall and internationall, including recent

conferment of the title National Artit for Film in 2018.

8. MARILOU DIAZ ABAYA

ABOVE PHOTO: Asian CineVision website

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Notale ork: rutal (1980), Moral (1982), Karnal (1983), Milagro (1997),

a Puod ng Dagat (1998), Joe Rizal (1998), Muro-Ami (1999), agong

uan (2001)

Multi-aarded film director Marilou Diaz-Aaa i jut one of man female

director that have left an indelile mark in Philippine cinema. he a alo the

founder and preident of the Marilou Diaz-Aaa Film Intitute and Art

Centre in Antipolo and ha taught ome of the et filmmaker of toda'

generation.

After graduating from the London International Film chool in 1978, Diaz-
Aaa entered the film indutr a a feminit director. Ditinctive of hi film

are theme of omen empoerment, the marginalied ector, and the

oppreive ocial tem of the Marco regime. Perhap her mot famou ork,

after having earned almot all aard from the Metro Manila Film Fetival,

a Joe Rizal hich a a iographical film of one of the countr' national

heroe. It a a tetament to her od of ork that comprie film eing

entertaining et ociall conciou and highl artitic.

Diaz-Aaa died in 2012.

9. MIKE DE LEON

ABOVE Mike De Leon directing Mark Gil in the movie "Batch '81" / Promotional photo for the restored version of the film from
Citizen Jake Facebook page

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Notale ork: atch '81 (1982), Kiapmata (1981), Alian Paradie (1993),

Itim (1976), iter tella L (1984), aaning 3rd World (1999), Kakaakaa

Ka a? (1980), Kung Mangarap Ka't Magiing (1977), Hindi Nahahati ang

Langit (1985)

Miguel Pamintuan de Leon, popularl knon a Mike de Leon, tarted hi

Miguel Pamintuan de Leon, popularl knon a Mike de Leon, tarted hi

interet in filmmaking hile puruing Art Hitor at the Univerit of

Heidelerg in German. He erved a producer and cinematographer for Lino

rocka' Manila a mga Kuko ng Lianag, hich gave him et

cinematograph aard from FAMA. Toda, that film i internationall

recognied and praied.

Hi firt major full-length ork a Itim here he explored theme of guilt

and violence ith uch delicate alance of cinematic element. He alo made

romantic drama film like Kung Mangarap Ka't Magiing and Hindi Nahahati

ang Langit, hich a aed on a erial comic and eventuall remade for

televiion. He a alo knon for hi experimental filmmaking, a een in the

muical Kakaakaa Ka a?. 

ut hi et ork are the criticall acclaimed Kiapmata, atch '81, and iter

tella L, for delving primaril on taoo uject at the time. The firt to ere

preented during the Director' Fortnight at the 1982 Canne Film Fetival, and

the third a entered to the 1985 Venice Film Fetival. Like Ihmael ernal,

to of hi film ere hocaed a ell at the Lincoln Centre in Ne York for

the ame celerator event.

He eventuall took a tep ack from the limelight during the '90, making onl

to film: Alian Paradie, a 20-minute entr to the multi-national four-film

antholog outhern Wind, and aaning 3rd World, a mockumentar aout

Rizal and hi novel. Almot to decade later, de Leon returned to directing

ith Citizen Jake, a political thriller film that re-echoed theme of the Martial

La ear.

10. LAV DIAZ

ABOVE BERLIN, GERMANY - FEBRUARY 20: Director Lav Diaz (3rdL), winner of the Silver Bear Alfred Bauer trophy for his movie
'A Lullaby to the Sorrowful Mystery', poses with his cast and jury president Meryl Streep on stage during the closing ceremony
of the 66th Berlinale International Film Festival on February 20, 2016 in Berlin, Germany. (Photo by Sean Gallup/Getty Images)

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Notale ork: Norte, Hangganan ng Kaaaan (2013), Mula a Kung Ano

ang Noon (2014), Hele a Hiagang Hapi (2016), Ang aaeng

Humao (2016), Ang Panahon ng Halima (2018)

Perhap the mot famou for garnering almot all of the mot pretigiou

international accolade in the indutr, Lav Diaz i greatl revered among the

current generation of Filipino film director. ut urpriingl, he did not gain

much pulic attention orldide until recentl ith Norte, Hangganan ng

Kaaaan. 

orn Lavrente Indico Diaz, he i a filmmaker and former film critic hoe

career egan in the earl '90. Hi roter of film ince the 2000 ere praied

 aard-giving odie: atang Wet ide (ingapore International Film

Fetival, Independent Film Fetival of ruel, and Netork for the Promotion

of Aian Cinema or NTPAC), Heremia (Friourg International Film

Fetival), Kagadanan a anaan ning mga ngkanto (Venice International

Film Fetival, Toronto International Film Fetival), Melancholia (Venice

International Film Fetival), iglo ng Paglulual (Venice International Film

Fetival), and Florentina Hualdo (Jeonju International Film Fetival, Image

Fetival). Hi film often tackle the current ocial and political tate of the

Philippine, including hi hitorical epic ritten to e relevant to toda'

truggle of the nation.

truggle of the nation.

Hi landmark film Norte a creened in the Un Certain Regard ection of the

66th Canne Film Fetival. Thi rought hi career head-to-head ith another

internationall acclaimed Filipino director, rilliante Mendoza, ho had een

featured at Canne a decade prior. Hoever, Diaz' filmmaking tle a

ditinct (and could even e eail recognied): lack-and-hite, ith an

etalihing hot of each cene taking almot more than a minute. With thi, he

i knon a one of the ke memer of the lo cinema movement, ith ome

of hi film marked a having the longet-running time on record.

Diaz' film reak genre and are quite experimental, ut all ta true to hi

directorial tle. Hi ork are argual the mot amitiou independent

Filipino film for touching on theme relevant to the mae, made ith lo-

udgeted production, ut ith exquiitel ritten creenpla that are

continuoul digeted  critic here and aroad.

Hi mot pretigiou aard earned ere the ilver ear Alfred auer Prize for

Hele a Hiagang Hapi at the erlinale and the Golden Lion at the Venice

International Film Fetival for Ang aaeng Humao. He alo received the

Golden Leopard at the 2014 Locarno International Film Fetival for Mula a

Kung Ano ang Noon.

ee alo: Lav Diaz' "Ang Hup" (The Halt, 2019)

11. BRILLIANTE MENDOZA

ABOVE CANNES, FRANCE - MAY 22: Jaclyn Jose (L) reacts on
stage as her daughter Andi Eigenmann and director Brillante
Mendoza applaud after being awarded the Best Actress prize
during the closing ceremony of the annual 69th Cannes Film
Festival at Palais des Festivals on May 22, 2016 in Cannes,
France. (Photo by Pascal Le Segretain/Getty Images)
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ABOVE BERLIN, GERMANY - FEBRUARY 12: Actress Isabelle
Huppert and director Brillante Mendoza attend the "Captive"
Photocall during day four of the 62nd Berlin International Film
Festival at the Grand Hyatt on February 12, 2012 in Berlin,
Germany. (Photo by Dominique Charriau/WireImage)
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Notale ork: Maahita (2005), eri (2008), Kinata (2009), Th Wom

(2012), Taklu (2015), Ma' Roa (2016), Mindanao (2019)

The revival of the Philippine cinema' preence at the Canne Film Fetival ma

e credited to rilliante Mendoza' viceral and arreting realit film. Hi tle

ha influenced other independent filmmaker of the 2000, here mot ued

handheld camera hile doing long tracking hot.

In 2009, he on a et director at the Canne Film Fetival for hi

pchological thriller film Kinata. It a one of hi man collaoration ith

then-udding indie actor Coco Martin, ho i no one of the igget name in

ho uine. He ha alo orked ith premier French actre Iaelle

Huppert in the film Captive, hich a inpired  true event that have

happened in Mindanao during the earl 2000. In 2016, one of the countr'

veteran actree Jacln Joe received the et actre aard in Canne for

Mendoza' film Ma' Roa, hich a critical of Preident Rodrigo Duterte'

ar on illegal drug and the rute police force. eide Canne, hi film are

alo ell received  other international aard-giving odie.

Mendoza call hi tle "Found Filmmaking" here there are three element:

the tor aed on experience in real life, the actor' "in-the-moment" line

that come out naturall from the cene, and the directorial choice that hed
that come out naturall from the cene, and the directorial choice that hed

light on the communit and the context of the tor.

ee alo: rilliante Mendoza xhiition at the Metropolitan Mueum

12. LAURICE GUILLEN

ABOVE Cinemalaya Foundation chairman Tonyboy Cojuangco, and president Laurice Guillen in the middle of the photo together
with Mel Chionglo, Chris Millado, Tess Rances and the Cinemalaya 2017 festival participating filmmakers | PHOTO: Kiko
Kabuena / Cinemalaya

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Notale ork: Kaal (1980), Kung Ako' Iian Mo (1980), alome (1981),

Tanging Yaman (2001), anta antita (2004)

Another female houehold name in the Philippine film indutr i Laurice

Guillen, ho tarted a an actre. A protégé of Lino rocka, he tarred in

major Filipino film like Tinimang Ka Ngunit Kulang (1974), Ina, Kapatid,

Anak (1979), Moral (1982), Nagalit ang uan a Haa ng Gai (1983)

and iter tella L (1984), to name a fe.

he egan orking a a director ith Kaal, a romantic film tackling marriage

and former love affair. imilarl, her od of ork i knon for poignant
and former love affair. imilarl, her od of ork i knon for poignant

tortelling and poerhoue acting, perhap credited to Guillen' earl career

in theatre and film a an actre. Hoever, her technical proficienc till tand

out in her filmograph making it ome of the mot-atched film toda.

alome, her landmark film, a a critical ucce and earned her the et

director aard in Urian. Furthermore, the film a hon at the Toronto

International Film Fetival. anta antita a hon at the angkok

International Film Fetival and knon to have relaunched the career of then-

child tar Angelica Panganian, no one of the leading actree of her

generation.

Currentl, Guillen i the preident of the Cinemalaa Foundation, Inc. hich

founded and overee the Cinemalaa Independent Film Fetival. Jut recentl,

he a included in the executive committee of the Metro Manila Film Fetival,

the countr' longet local film fetival.

Read more: hort Film On potlight In The 16th Cinemalaa Independent

Film Fetival Thi Augut 2020

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