32 nd

Annual Circle
Citations for
Distinguished
Achievement
in
Film for

2021 +
SINE SIPAT:
RECASTING
ROLES AND
IMAGES,
STARS,
AWARDS, AND
CRITICISM
The Citation

T
he Film Desk of the Young Critics Circle (YCC) first gave its annual
citations in film achievement in 1991, a year after the YCC was
organized by fifteen reviewers and critics. In their Declaration of
Principles, the members expressed the belief that cultural texts always
call for active readings, “interactions” in fact among different readers
who have the “unique capacities to discern, to interpret, and to reflect
. . . evolving a dynamic discourse in which the text provokes the most
imaginative ideas of our time.”

The Film Desk has always committed itself to the discussion of film in
the various arenas of academe and media, with the hope of fostering an
alternative and emergent articulation of film critical practice, even within
the severely debilitating culture of “awards.

I
binigay ng Film Desk ng Young Critics Circle (YCC) ang unang
taunang pagkilala nito sa kahusayan sa pelikula noong 1991, ang
taon pagkaraang maitatag ang YCC ng labinlimang tagapagrebyu at
kritiko. Sa kanilang Deklarasyon ng mga Prinsipyo, ipinahayag ng mga
miyembro ang paniniwala na laging bukas ang mga tekstong kultural
sa aktibong pagbasa, sa “mga interaksiyon” ng iba’t ibang mambabasa
na may “natatanging kakayahan para sumipat, magbigay-kahulugan, at
mag-isip . . . bumuo ng isang dinamikong diskurso kung saan ang texto ay
naghahamon para lumikha ng mga pinakaimahinatibong idea ng ating
panahon.”

Ang Film Desk ay lagi nang nagsisikap na talakayin ang pelikula sa iba’t
ibang arena ng akademya at media, sa pag-asang magsulong ng alternatibo
at umuusbong na artikulasyon ng kritisismong pampelikula kahit sa loob
ng nakababaldang kultura ng “mga award.”
2
PRESIDENT'S REPORT 2021

MGA SADYANG PAGBABAGO

Tito R. Quiling, Jr.

M
atapos ang ilang ulit na lockdown, pagsasara ng mga negosyo, at
magulong tugon ng pamahalaan sa pandemiyang COVID-19 mula
taong 2020, hinarap din ng sineng Filipino ang mga kawalang-
katiyakan habang iniaangkop ang sarili sa mga puwersadong karaniwan
para lamang manatiling buháy. Ipinagpaliban ang pagpapalabas ng
mga pelikula o kaya naman tuluyan nang kinansela, ipinatigil ang mga
produksiyon, at nangonti ang mga oportunidad sa industriya ng pelikula
at telebisyon.

Noong taong 2021, nang nakapaglabas na ng mga regulasyon para sa

mga produksiyon at nahanap na ang mga ito ng paraan sa anyo ng mga
locked-in taping, produksiyong hybrid, at online premiere, unti-unting
nanumbalik ang regular na produksiyon ng industriya, na nakapagpataas
sa bilang ng mga naipalabas na pelikula mula 52 noong 2020, tungong 89
sa 2021. Dahil na rin sa limitadong pagkakataon para sa mga in-person na
panonood, marami sa mga pelikula at serye ang inilabas sa Netflix, HBO,
at iba pang lokal na platapormang video-on-demand na nakapagpabago
sa mga paraan ng panonood ng madla.

Subalit sa paanong paraan naimpluwensiyahan ng mga ganitong

pagbabago sa produksiyon, pagpapalabas, at birtuwal na
pakikipaghalubilo ang mga umiiral na imaheng kultural? Napatalas
naman ba ang mga kritikal na pananaw sa mga pelikula nang
mapagtagpo ang halagang pang-aliw ng mga ito sa kanilang mga
kuwentong higit na seryoso ang pinapaksa? Dahil na rin sa kalagayan
natin ngayon, marami sa mga kuwentong ito ang nakatutok sa tema ng
pagkakahiwalay o isolation, pagkakalapít o intimacy, takot, at pagluluksa.

3
Dahil na rin sa pananatiling online ng karamihan ng ganitong pagtatagpo,
pinagsikapan din ng YCC na makapaglabas ng mga episodyo ng
podcast para sa taong pampelikula 2021. Nakatuon ang mga ito sa mga
napapanahong isyu na iprinisenta ng mga nominado at nagsipagwaging
pelikula, na pare-parehong may kuwentong puno ng mahahalagang
danas mula sa magugulong buwan ng taong 2020. Tinalakay ng mga
kasalukuyang miyembro ng YCC kung papaano sinisiyasat ng mga obrang
ito ang mga ekonomiko at panlipunang di-pagkakapantay-pantay sa
mga urban at rural na lugar, at mga kaguluhang pampolitika na higit na
pinalala ng pandemiya at pagtatagpong interkultural, na marahil ay isa
ring kakatwang paglihis mula sa nangyaring pagsasara ng mga border sa
buong mundo.

Sa mga pelikulang ito, isa sa nagtatahing elemento ang magkakatulad

na pagsasakasaysayan ng mga praktikang pangkultura at pananaw na
pangkolektibo sa kapwa lokal at pambansang nibel, na nagbibigay-pansin
sa mga peligrosong kondisyon sa pagitan ng pagkalugmok at pagkabúhay,
ng paglimot at pag-alala. Sa mga kuwentong ito, may mga katanungan
hinggil sa moralidad, sa pagturing ng tao sa kaniyang sarili pati na
kaniyang kapwa sa harap ng mga panganib at di-tiyak na pagpapasya.

Habang marami sa atin ang nanatili sa loob ng ating mga tahanan,

may mga obra sa sineng Filipino na nagpapakita ng mundo sa labas, at
mariing sumisiyasat sa di-pantay na oportunidad sa pangangalagang
pangkalusugan, serbisyong panlipunan, edukasyon, at mga payak na
pangangailangan tulad ng tirahan at pagkain. Sa gayon, ang mga imahen
sa pelikula ay nagsisilbing personal at kolektibong alaala na tumutulak sa
ating mga manonood na pagnilayan ang ating mga kalagayan sa ngayon
pati na ating mga hindi rin tiyak na hinaharap. Para sa taong pampelikula
2021, ang ating mga realidad ay ipinalabas sa higit na maliliit na screen,
kung saan ang mga imaheng kultural ng mga malayang pagkilos sa
mga komunidad na tinitirhan at pinagtatrabahuan, mga mainit na
pakikipagtagpo sa iba—ang lahat nitong wangis ng regularidad—ay
nakapagpapaalala sa ating búhay-búhay—sa ngayon pati na noon, bago
ang pandemiya.

Maraming salamat sa inyong pagsama sa amin ngayong hapon. Sabay-

sabay nating antabayanan ang hinaharap, sa ikatatlumpu’t tatlong
taunang Circle Citation ng Young Critics Film Desk—sa taong 2022.

4
reviews
HISTORYA NI HA
Winner, Best Film (dir. Lav Diaz)
Winner, Best Performance (John Lloyd Cruz)
Winner, Best Screenplay (Lav Diaz)
Nominee, Best Achievement in Cinematography and Visual Design
(cinematography and production design: Lav Diaz)

6
Portrait of an Artist
John Bengan

A
t the beginning of Historya ni Ha, Lav Diaz’s relatively compact
articulation of the artist’s stake in a troubled society, we hear a voice
addressing his paramour. Hernando Alamada (John Lloyd Cruz), a
bodabil performer on his last tour aboard a cruise ship called Mayflower,
writes a letter to his girlfriend Rosetta: he wants to return to their
hometown, Tagsibol, and marry her. Soon to obtain a teacher’s license,
he also plans to retire from show business. In spite of these prospects,
Hernando broods over the end of his career, an indecision that will soon
be compounded by devastating news.

As with Mula sa Kung Ano ang Noon
and Panahon ng Halimaw, Lav Diaz
retrofits the past to the present to
create an origin story of sorts for
the country’s slide, once again,
into authoritarianism. The result
is surprisingly lucid even in its
absurdity. This time Diaz has chosen
a critical period: it is 1957 and
Ramon Magsaysay’s plane has gone
missing. On the ship, Hernando
meets Jack Agawin (Erwin Romulo).
When Hernando refuses Agawin’s
request for an interview, the
journalist slyly refers to Hernando’s
arrest over his ties with the
Hukbalahap and asks whether the
movement has disillusioned him.
“Disillusioned ako sa immaturity
ng mga tao (I am disillusioned
with the people’s immaturity),”
replies Hernando. Later they meet
with Congressman Torres (Jun
Sabayton), who, suspecting that
Magsaysay is dead, begrudgingly
eulogizes the president’s legacy. The
late president, the congressman
muses, ran over Philippine politics
by capitalizing on charisma. The
“ignorant” masses will now keep
seeking a comparably magnetic
leader. The congressman,
belatedly admiring the efficacy of
a tactic, sings one of Magsaysay’s
catchy jingles, “Mambo, mambo,
Magsaysay…Our democracy will
die kung wala si Magsaysay.” Such
mythmaking will surely happen
again, the false prophets yet to
come.
Upon arriving in Tagsibol,
Hernando lives with his twin sister
Hernanda and her family. From
one of his suitcases, he retrieves
Ha, which when brought to life
with Hernando’s voice turns into a
livelier, diminutive version of the
ventriloquist himself. Barely about
the size of his puppeter’s arm, Ha

7
has a habit of rambling lyrical
and making acerbic observations.
Through him Hernando constructs
cryptic parables about golden
dolls, missing cats, and deceptively
attractive cages, his political barbs
ribbonned with rhymes. Later
Hernando learns from his sister
that Rosetta has been betrothed to a
powerful man to whom her parents
owe a debt. Shattered, Hernando
leaves Tagsibol, giving his sister the
earnings he’s supposedly set aside
to start a new life. He instructs
Hernanda to use the money for
her children’s education so that
they may escape Tagsibol someday.
Using his brother-in-law’s carabao
and cart, Hernando sets off again,
destination unknown, and Ha
packed in his luggage.
On the road they pass by a boy
named Joselito (Jonathan O.
Francisco), the same boy who
catches up with Hernando at
night and sleeps next to the cart.
8
In the morning, Hernando and
Ha observe Joselito asleep on the
ground. In a quietly peculiar scene,
Ha extends his wooden hand onto
the boy, trying to wake him—a
moment that will haunt after the
boy, bringer of the nation’s hopes,
becomes collateral in an unfolding
chaos. With Hernando refusing to
talk directly to others, Ha serves as
his conduit, conveying a weariness
of the spirit that can only be
mitigated by performance. The boy
is on his way to Isla Diwata where
a “gold rush” has been attracting
people to the island. He tells
Hernando that the cheapest boat
going to Diwata is in a barrio called
Daang Tapak. Before they part
ways, He says to the boy: “Hindi
lang ginto ang kasagutan sa lahat
ng problema (Gold is not the only
answer to everything)”
Hernando and Ha cross paths with
two other travelers headed for
Isla Diwata: Sister Lorenza (Mae
Paner), a nun doing missionary
work; and Dahlia (Dolly De Leon),
a woman who wants to put up a
“business” on what they believe
to be a bustling island. Eventually
Joselito catches up with them.
They ask Hernando to take them to
Daang Tapak, and while reluctant
at first, Hernando agrees. However,
Ha is wary of their companions. In
a grassy clearing, Hernando talks to
Ha in private. Ha chides Hernando
for being too kind and suggests that
they also go to Isla Diwata. “Naroon
ang eksena (The events are there.),”
says Ha, expressing the artist’s
yearning for adulation. “Hindi
ka ba napapagod? (Aren’t you
tired?),” Hernando asks. Persistent,
Ha suggests that they return to
Mayflower. When Hernando
objects, Ha callously calls him a
“loser” for letting Rosetta’s betrayal
get to him.
9
Unlike Diaz’s less successful works
in which earnestness slips into
tedium, Historya ni Ha has a pulse.
Small but keenly observed moments
afford the measured pacing the
effect of a crescendo. When Ha
keeps teasing him for being a
“loser,” Hernando hugs his dummy
in a gesture of tender resignation.
Upon seeing Ha for the first time—
Hernando using Ha to buy crackers
and Coke at a sari-sari store—Sister
Lorenza makes the sign of the
cross. After a brief performance,
Dahlia reaches out to shake Ha’s
little hand. While having lunch on
a banana leaf, they ask Hernando
why Ha isn’t eating with them.
Diaz’s penchant for grand allusions,
while clumsy and mechanical in
the past, rings vital now, mainly
because of Ha, whose uncanny
presence upends Diaz’s high
seriousness. In a scene in which Ha
notices Sister Lorenza reading the
Bible, the nun says about the book
of Genesis: “Kung paano nagsimula
ang lahat (How everything began).”
Ha asks, “Mayroon bang kung
paano nagwakas ang lahat? (Is
there a chapter on how everything
ended?)” When Sister Lorenza says
no, Ha surmises that the book isn’t
complete after all. Dahlia interjects
and insists that the Bible is
complete because of “the father, the
son, and the holy spirit.” Ha quickly
punctuates, “Amen.”
Many of Diaz’s characters function
more like vessels for his ideas
10
than recognizable, dimensional
personas, their garrulousness
flowing unmistakably from Diaz
himself, the master puppeteer who
cares not whether the strings he’s
pulling are a little too taut and,
often, too visible. But in telling the
story of a desolate ventriloquist
and former revolutionary
lugging around a wooden doll
that resembles him, Diaz found a
strange but appropriately shaped
container for his reflections
on our current epidemic of
falseness, and in the process,
manages an oblique treatise on
his methods. A ventriloquist, after
all, performs alongside the doll,
and the human voice is thrown,
seemingly splintered, to emerge
as though from somewhere else.
The notoriously long takes of
characters walking through the
jungle don’t induce listlessness;
the film, instead, hums with
propulsion: Will they ever reach
Isla Diwata? What will people
there make of Ha and Hernando?
In Daang Tapak, the travelers find a
village controlled by Among Kuyang
(Teroy Guzman in a disarming
turn) and his quick-tempered
sister Matilde (Hazel Orencio). In
a few beats, the scenes in Daang
Tapak condense the madness of the
present. Men carrying long firearms
patrol the dirt roads, even though
there are no other combatants in
sight. When Sister Lorenza explains
why a thirteen-year-old traveler
could not produce a cedula, the
retort of one of the armed men
11
sounds as though it had been lifted
straight out of a comments thread
on Facebook: “Masyado po kayong
magaling, Sister. Ang bobo namin.
(You are too smart, Sister. We are
so dumb.)” Meanwhile, a proxy
for unhinged disciples, Matilde
throws raging tantrums whenever
she fails to hold people back from
seeking an audience with her
brother. At one point she childishly
stabs a tree trunk with a bolo, and
in another, she comically drives
away a man who is only asking for
a glass of water. When the women
find out about the expensive fare to
Diwata, Sister Lorenza and Dahlia
approach Matilde, and later Among
Kuyang, but fail to persuade either
of them to defray the cost. They
ask help from Hernando, who, in
turn, uses his stature to negotiate
with a tyrant. In a terrifically comic
and tense sequence, bodyguards
cautiously lift their rifles as
Hernando reaches for an object
from inside his suitcase, and lower
the weapons when they see it’s
only a doll. Upon meeting Ha,
Among Kuyang excitedly agrees
to a staging of a bodabil show,
which will render him vulnerable.
A drifter (Earl Ignacio) who calls
himself Ernesto Gueverra arrives.
It turns out Ernesto is a disgruntled
Huk who reveals that Among
Kuyang posed as a guerilla before
fashioning himself into a warlord.
Donning batik sarongs and
headscarves, Among Kuyang is
a curious fusion of cult leader,
nativist despot, and patron of the
12
arts. One night he gathers residents
and transients in Daang Tapak and
proclaims to everyone that he met
Ramon Magsaysay who, according
to him, praised Among Kuyang for
being a true Malay–“an original
Filipino.” Among Kuyang refers to
Lapu-Lapu of Mactan as a beacon
of Malayness and then, in the same
breath, compares himself to the
man who slew Magellan. Among
Kuyang also rails against the United
States and communism. In the
assembly, he foresees the coming of
two great leaders: an Ilokano and a
Visayan from the South. The scene,
among many in Historya ni Ha, riffs
on the myth of Rodrigo Duterte
and its continuity with that of
Ferdinand Marcos, down to that of
Magsaysay. Teroy Guzman’s Among
Kuyang exudes a mellow, almost
hippie-like demeanor—especially
when he gushes about Hernando
and Ha—that calls to mind Lav
Diaz himself during interviews.
Intentional or not, the resemblance
is a fascinating one, considering the
film’s question about the collusion
of art under strongman rule.
While Hernando stands in for Diaz’s
romantic idealist, Ha is pragmatic,
mischievous, and enterprising. Cruz
doesn’t turn the performance into
a demonstration of ventriloquism,
but rather a balancing act of
emotional tones and vocal textures.
His looseness in maneuvering the
dummy and the subtle contrast
between their personalities and
registers imbue the performance
with a subjunctive force. Does
Ha present Hernado’s truest
being? Or does Hernando vanish
unknowably behind the artifice? In
a conversation with Ha set in front
of a mirror, Hernando questions the
integrity of their trade, having just
made an agreement with Among
Kuyang, the show they must put up
to distract the devil. Considering
the performer whose career is built
mostly on matinee idol roles, the
scene takes on another dimension.
Does John Lloyd Cruz ever think
of Popoy Gonzales’s impact on the
13
lives of ordinary people? Maybe
not. Nonetheless, the nod to bodabil
recalls the theatrical form’s decline
in the wake of cinema and, at
the same time, its resurgence,
albeit transformed, in succeeding
formats. (Eat Bulaga’s “Kalyeserye,”
which birthed a now infamous
following that once shattered world
records, is a reminder of bodabil’s
indelible influence in Philippine
entertainment.) It is as though Diaz
is also questioning the position
of popular entertainment in the
edification or the suppression of
citizens.
The final two images in Historya
ni Ha assert what sounds simple
but even more true in a numbingly
self-destructive nation. Hernando,
newly settled in another village,
repeats again and again with
hypnotic patience the Abakada to
young and adult students. Finally
he writes to Rosetta, a more
sanguine voice laid over the sight
of Hernando and two men working
in the forest to build a latrine for a
villager. They will be constructing
a school, Hernando says in the
letter, or digging a grave for one of
the locals who died from another
illness that could have been
prevented. Yet the film ends with a
promise: even if history itself is the
enemy, Hernando swears he won’t
allow it to destroy him. The voice
doesn’t match the moving figures
on screen, but Diaz’s execution has
never been so perfectly timed.
Pakikipagtuos sa Panahon
Christian Jil R. Benitez

K
ung para sa ibang manunuri ay maaari, kung hindi man maipagpipilit,
bilang sanhi ng pagdududa sa kabuoang kahusayan ng Historya ni
Ha (2021) bilang isang ganap na pelikula (at hindi lamang bilang
konsepto ng isang pelikula) ang naging pagganap dito ng aktor na si
John Lloyd Cruz bilang si Hernando Alamada, ang bidang bentriloko ng
naturang epiko-pelikula, hinihiling mismo ng praktika ng kritisismo, kung
pangangatawanan ang pinakabirtud nitong kritikalidad, na maigiit ang
isang pagtanggi, kung para lamang mapabanaag ang isang panibagong
pagtataya hinggil sa mismong materyalidad ng pelikula. Sapagkat higit pa
sa katotohanang maitatangi nga ang Historya bilang ang pinakamalinaw
na artikulasyon ni Lav Diaz sa kaniyang prinsipyo ng paglikha,
nahihinuhang inihahain din nito ang isang mungkahing pagpapahalaga
hinggil sa pinakagawain ng panonood.

Tulad na rin sa iba pang mga pangulong Ramon Magsaysay, at

naunang pelikula ni Diaz, ipinaalala
muli ng Historya kung papaanong
ang kasaysayan ng Pilipinas ay
kasaysayan ng—kung hindi man
kasaysayan ngang—paglalakbay:
tulad na rin ng pansin ng kritikong
si Noel Vera, narito muli ang
pigura ng isang solterong lagalag,
sa rendisyon nito bilang isang
alagad ng sining na, dahil na rin
sa pagkakataon, kinakailangang
makipagsapalaran sa pag-asang
maharap, malirip, at kinalaunang
matugonan ang kasalimuotan ng
pagkakasali-salikop ng nakaraan,
kasalukuyan, at hinaharap.
Partikular sa Historya, ang tagpuan
ay ang kanayunan, sa taong
1957, matapos pumanaw ang
sa gayon, sa gitna ng isa muling
mahalagang transisyon ng bansa:
dito matatagpuan si Hernando,
isang sikat na bentriloko sa bodabil
ng barkong Mayflower at dating
miyembro ng Huk, na ngayon ay
nagbabalik sa Pilipinas, sa kaniyang
sinilangang bayan ng Tagsibol,
mula sa paglalayag sa karagatan
ng Asya, upang mapakasalan na sa
wakas ang kaniyang naghihintay na
kasintahang si Rosetta, tulad na rin
ng kanilang napagkasunduan noon.
Ngunit kabaligtaran sa inaasahang
wakas sa mga katutubong epiko,
ang bumubungad sa Historya ay
ang pagkaudlot sa inaasahang
pag-iisang-dibdib, sapagkat ang

14
kasintahan ni Hernando ay
kinailangan palang ipakasal sa
iba upang makabayad-utang ang
kanilang pamilya. Ang pagkabali ng
pangakong ito—na kung tutuosin
ay karagdagan lamang sa mga
naranasan na ni Hernando na
pagkabali ng mga salita, kabilang na
ang naging pagsuko ng pinuno ng
Huk na si Luis Taruc sa pamahalaan
ni Magsaysay—ang magsisilbing
mitsa para sa kabuoan ng pelikula:
dahil na rin sa pagkawala na ng
kaniyang tiwala sa mga salita,
isinumpa ni Hernando na hinding-
hindi na siya muling bibigkas
ng mga ito, liban na lamang sa
pamamagitan ng kaniyang papet na
si Ha. At noon din, napagpasiyahan
ni Hernando na muling lisanin ang
kaniyang kinalakhang bayan, na
naging dahilan upang makatagpo
niya kinalaunan ang iba pang
naglalagalag ding mga tauhan: si
Joselito (Jonathan O. Francisco), si
Dahlia (Dolly de Leon), at si Madre
Lorenzana (Mae Paner), na sa
iba’t ibang kadahilanan ay pare-
15
parehong nagnanasang magtungo sa
maalamat na pulo ng Diwata, kung
saan sinasabing matatagpuan ang
isang malaking minahan ng ginto.
Sa pampang mula kung saan
tatawid sana ang mga lagalag na
ito patungong Diwata, nadatnan
nilang ang lahat ng mga bangkang
pumapalaot para sa isla ay
napailalim na sa kapangyarihan ni
Among Kuyang (Teroy Guzman),
sampu ng kaniyang armadong
mga tauhan; tanging ang mga
tulad lamang ni Hernando na kahit
papaano ay makapagbabayad sa
mataas na pasaheng sinisingil nina
Among ang ihahatid sa Diwata. Sa
ganitong uri ng pamamalakad ni
Among sa kanilang munting bayan
sa tabi ng dagat, napatotohanan ang
naunang babala sa pelikula hinggil
sa malagim na hinaharap ng bansa
dulot ng karaniwang pagbaling daw
ng mga Filipino sa mga propeta
at pinunong huwad. Sa ganitong
paraan din naipapaalingawngaw
ng pelikula sa sarili nito ang
kasalukuyang danas sa bansa—
hindi lamang sa pagkakatulad
ng mga malawakang banghay-
panlipunan sa loob at labas ng
pelikula, kung hindi maging sa
gampaning kinasasadlakan ng
mga alagad ng sining tulad ni
Hernando na pakikipagtawaran
at pakikipagtunggalian sa
mararahas na kapangyarihan
upang makarating ang higit na
nakararami sa isang wangis ng
kompromiso, kung hindi man
kaganapan ng tagumpay.
Subalit, higit pa sa ganitong
madaling pagtutulad ng pelikula sa
kasalukuyang mundong Filipino,
kritikal na mapagtuonan ang mga
salik ng Historya na nakapaggigiit
sa pagkakaiba pa rin nito sa wakas
mula sa naturang mundo, sampu
na rin ng pagiging pelikula nga
nito. Dito nagiging mahalagang
mapagtuonan ang naging pagganap
ni John Lloyd Cruz sa tauhang si
Hernando sapagkat dito, kung
tutuosin, pinakanaipapamalas
din ng pelikula ang pagkapelikula
nga nito: sapagkat hindi rin
talaga isang bentriloko si Cruz,
16
makikita ang hangganan ng
kaniyang kakayanan bilang isang
aktor sa pagganap sa tauhang isa
ngang bentriloko; sa kaniyang
pagtatangkang maisakatawan
ang pagkatao ni Hernando sa mga
sandali ng pagbebentrilokisa,
bumabaling lamang si Cruz sa
pagbabago ng kaniyang tinig
nang nahahalata pa rin talaga ang
pagkilos ng kaniyang bibig. Kaya
rin sa isang banda, gumagana pala
ang malayo-layong kuha ni Diaz
sa mga eksenang pinagsasalita
ni Cruz, bilang si Hernando, ang
papet na si Ha bilang isang paraan
din ng pagkukubli sa kawalan
pala ng aktuwal na bentrilokismo
sa pagtatanghal. (Ito samakatwid
ang dahilan kung bakit, sa pansin
na rin ng isang kritiko, kahina-
hinayang na hindi naipasilay sa
mga manonood ang halimbawang
pagtatanghal ni Hernando sa
bodabil na nakapagpaani sa
kaniya ng maraming tagahanga sa
kuwento: sapagkat wala rin ngang
bentrilokismong maipapasilay.)
Gayunpaman, ang ganitong
bentrilokismong di-bentrilokismo
ni Cruz bilang si Hernando ay hindi
rin masasabing pagkabigo niya
bilang isang alagad ng sining: sa
katunayan, sa isang mabalintunang
paraan ay mapahahalagahan ang
gayong pagganap ni Cruz na tila
di-ganap bilang isang matalinong
pagdiriin din sa kaniyang
materyalidad bilang isang tao—na
sa kabila ng kaniyang pagiging
isang aktor, may hangganan din
ang makakayanang maitanghal
ng kaniyang pinakakatawan.
Na sa sarili niya, si Cruz din
ay matatayang isang papet na
pinagtatanghal, pinagsasalita
sa paraang hindi niya magawa-
gawang makapagsalita. Na, sa ibang
salita, ang gayong mahuhuling
pagkilos pa rin ng bibig ng aktor
sa kabila ng kaniya dapat pagiging
isang tauhang bentriloko, ay ang
paggigiit din sa katotohanan ng
kaniyang pagiging isang tao, may
laman at may buto, sa kabila ng
halos paglagos sa mga bahaging
ito ng paningin ng manonood,
sapagkat ang karaniwang nakikita
lamang ay ang isinasaganap
na tauhan sa sinusubaybayang
kuwento. Kung gayon, ano ang
17
gayong pag-amin ni Cruz na
siya nga ay nagsasalita habang
pinagsasalita ng isinasakatawan
niyang bentrilokong si Hernando
ang papet nitong si Ha kung hindi
ang pagdiriin din sa pagkapelikula
nitong pelikula: na ito ay isa nga
ring produkto ng paggawang
kasintunay ng paggawang araw-
araw nating isinasagawa, sa kabila
ng bisa ng pelikula na mapalimot
ang lahat ng paggawang ito, sa
kakayanan na rin nitong matangay
ang mga manonood tungo sa ibang
mundong ipinapalabas nito?
Ang saysay ng pelikula,
samakatwid, ay sa pagiging
gawa-gawa nito—hindi lamang sa
pagiging hindi totoo ng banghay na
itinatampok sa kabila ng maaaring
pagiging makasaysayan nito, kung
hindi sa pagiging likha nga ng
bagay na pelikula mula sa mga
prosesong hindi na nagagawang
mailahad pa sa sandali ng
pagpapalabas.
Sa ganitong natatayang
pagpapaalala ng pelikula sa
manonood hinggil sa sariling
pagkapelikula nito, higit pa
kung gayon sa diskurso ng
representasyon at panunuliranin
sa maulit na kasaysayan ng
Pilipinas, natatayang ang mismong
kasalukuyan ng panonood ang
kritikal na sandali ng pakikipagtuos
sa panahon. Tulad na lamang sa
naging pagsipat ng kritikong si
Jaya Jacobo sa Hele sa Hiwagang
Hapis (2016) ni Diaz, dahil na
rin sa sinasabing “[p]amamalagi
si Diaz sa isang eksena [nang
mapalawig] niya nang lubos
ang stasis” ay di-maiiwasang
mapatanong ang isa kung “anu-
ano pa ang puwedeng bilangin sa
tagal, at hanggan kailan?”—ang
pagtatakang ito, na marahil bunsod
na rin ng pagkaburyong sa haba
ng pelikula ni Diaz, sa sarili nito,
ay maitatangi bilang isang anyo ng
pakikipagtuos dulot ng pelikula, na
sa ibang pagkakataon ay maaaring
makapagdulot din ng lugod para
sa ibang manonood. Sa gayon,
marahil higit pa sa pagsasakatawan
sa tinataya ni Diaz na “panahong
Malay,” ang kahabaan ng oras ng
kaniyang mga pelikula ay lumalabas
18
bilang isang mariing paggigiit sa
materyalidad ng kaniyang paggawa.
At sa gayon din, hindi lamang
nagagawa ni Diaz na maibigkis
ang kaniyang mga tauhan sa mga
manonood sa bisa ng damdaming
inilalahad sa pinilakang-tabing,
kung hindi ibinibigkis din niya ang
mismong mga nagsipagganap sa
mga manonood sa bisa ng kanilang
kapwa paggawa—para sa mga
aktor, ang pagtatanghal; at sa mga
manonood, ang pagsubaybay. .
Kaya rin kritikal sa paglikha ni
Diaz na ang tanging nakapapanood
ng kaniyang mga likha tulad ng
Historya—na may habang apat
na oras mahigit—ay silang may
labis-labis na oras, hindi lamang
para sa mismong panonood, kung
hindi maging sa pagtatangkang
pag-unawa sa napanood: ito ang
pagkakataon para sa burgis na
mahantong ang panonood din sa
kaniyang pinakasarili, marahil
simula sa pagtatanong kung bakit
nga ba pinanonood ang pelikulang
nasa kaniyang harapan. Ibig
sabihin, ang kasalimuotan ng
pelikula (at sa isang banda, pati
na ang kasalimuotan ng pag-iisip,
at pagsulat ng ganitong pag-iisip,
hinggil sa pelikula) ay inaaring
pagkakataon upang makapagtuos
tungo sa panibagong kabatiran
hinggil sa pagkakalugar ng sarili
sa kasalukuyan—at kung gayon,
ang pagkakasangkot din pala
talaga ng sarili sa mga bagay
(tulad ng pelikula!) na inaakalang
pinapanood lamang. Sapagkat sa
huli, ang mababanaag ay kung
papaanong ang Historya ni Ha
ay historyang kinapapalooban
din nating manonood: ano nga
ba tayong mga nanonood kung
hindi mga bentriloko at papet
ding nagtatanghal at itinatanghal
sa bodabil ng pang-araw-araw na
Pilipinas? At sino si Hernando at
kaniyang mga kasamang lagalag
kung hindi mga nakakasalubong
natin sa daan na hindi nagsasalita
o nakapagsasalita, sampu ng
19
pandarahas sa kanila, at sa ating
lahat, ng parehong araw-araw?
Sa paraang ito ng pagpapahalaga
sa pagsasalikop ng realidad at
pelikula, kung hindi man ng
anumang anyo ng sining, nagiging
madali ang bumigay sa tuksong
talikuran sa wakas ang huli,
sapagkat kung gayon ngang may
mga bagay na higit na kagyat na
nangangailangan ng ating pagtuon
ay bakit pa nga ba ibabaling ito sa
mga likhang-sining? Ang maaaring
pagtanggi, para kay Diaz, sa
kaniyang Historya, ay ito: “Masyado
nang maingay ang mundo. Nawalan
na ng saysay ang salita.” Isa ang
sining sa mga huling kanlungan
ng katahimikan mula kung saan
maaaring mapakahulugan muli
ang lahat. Sa gayon, maaari lamang
na may saysay pa rin talaga sa
kasalukuyan ang pakikipagtuos sa
panahon ng pelikula.
One-Fourth Resistance:
Graphic Violence and Political Uncertainty
Janus Nolasco

ON THE JOB
Winner, Best in Editing (Jay Halili)
Winner, Best Achievement in Sound and Aural Orchestration (sound design:
Corrine De San Jose; music: Malek Lopez, Arvin Nogueras, Erwin Romulo)
Nominee, Best Film (dir. Erik Matti)
Nominee, Best Performance (John Arcilla)
Nominee, Best Performance (Dennis Trillo)
Nominee, Best Performance (John Arcilla, Dennis Trillo, Lotlot de Leon,
Dante Rivero, Dolly de Leon (ensemble))
Nominee, Best Screenplay (Erik Matti & Michiko Yamamoto)
Nominee, Best Achievement in Cinematography (cinematography: Neil
Derrick Bion; production design: Roma Regala)

20
T
he violence from the Philippines’ War on Drugs reached a scale that
inexorably shaped Philippine cinema. Until recently, the Filipino
action film, or even the political thriller, had virtually disappeared.
Both had been supplanted by, among other genres, a flurry of romance
movies. But the last six years or so has seen a revival of such films:
Neomanila, Double Barrel, Buy Bust, Smaller and Smaller Circles, Babae
at Baril, just to name a few.

On the Job: The Missing Eight from
director Erik Matti belongs to this
broader phenomenon. The sequel
to On the Job (2013), The Missing
Eight charts the transformation
of the journalist, Sisoy Salas (John
Arcilla), from a subservient,
propolitician hack to a full-fledged
reporter bent on exposing the
crime of his patron, Mayor Pedring
Eusebio (Dante Rivero). The crime
in question is the murder and
disappearance of the eponymous
“Missing Eight,” which includes
Sisoy’s fellow reporter, Arnel
Pangan (Christopher de Leon) and
his eight-year-old son.
Pangan had angered Mayor
Eusebio through his (Pangan’s)
hard-hitting reports in the local
newspaper. Their disappearance
does a 180 on Sisoy, who gradually
abandons his pro-Eusebio leanings
and eventually finds a way to
extract a confession from the
mayor. In doing so, Sisoy seeks
to bust the politician’s image as a
crime-buster.
line of his patron and pursuing
the truth at great, personal cost. It
also devotes much screentime to
prison life and the assassinations
that the inmates (and others) carry
out. Dealing with the venality
of the political elite, fake news,
and the role of the media ethics,
among other issues, the film is
blatantly engagé, its resonance to
contemporary Philippine politics
undeniable.
The Film as Journalist
and Ethnographer
Like the Filipino action films of
the 1980s and 1990s, The Missing
Eight is essentially an exposé of
Philippine politics, portraying
in graphic fashion the violence
it engenders. In several scenes,
the film uses long, uninterrupted
camera work (i.e. no cuts) to
depict, among others, the cruelty
and chaos of prison life. At times,
it uses popular songs alongside
particularly bloody sequences like
executions, but only succeeds in
driving the brutality even harder.

The Missing Eight also charts At over three hours long, split
Sisoy’s difficult investigation, and into four episodes now streaming
his dilemma between toeing the in HBO Asia, the film has more

21
time to slow down. It can afford
to get into all sorts of details and
episodes, and has more room to
exhibit its technical virtuosity,
from sound and cinematography to
editing and lighting.
In its to-the-second realism, the
film itself, not just Sisoy, is also
a journalist. It discloses not only
the truth of the murder, but also,
more importantly, the “truth” of
Philippine politics, giving it several
faces, albeit fictional but no less
frightening ones.
Similarly, if The Missing Eight is an
exposé, it is also an ethnography
of sorts. It offers an immersive,
detailed glimpse of the darker
aspects of Philippine life that
many will not otherwise see. How
many have actually witnessed
executions? The obscure backroom
dealings of politicians? Most
22
importantly, how many, when
faced with such realities, often
choose to look the other way?
From this vantage point, it is
easy to appreciate why (social)
realism—and its focus on the
seamy, hidden side of Philippine
society—is the preferred genre of
resistance in the country’s cinema.
In an era of fake news and falsified
narratives, the in-your-face realism
of films like The Missing Eight is
more vital than ever.
In the same way, when one
considers its disappearance
from Philippine cinema, the re-
emergence of the action movie/
political thriller cannot be more
timely. For all their faults, the
Filipino action films of the late 20th
century had a favorable feature:
they were a constant reminder
who the villains were.
One-Fourth Resistance,
No Follow-Through
[SPOILER ALERT]
The Missing Eight is a scathing
indictment of Philippine politics.
This in itself is not unusual. What’s
more striking is less its graphic,
in-your-face portrayal of violence
than its relatively muted response
to such violence.
It is true that Sisoy bravely
and admirably goes all-out in
his confrontation with Mayor
Eusebio; just before Sisoy does so,
it had seemed that he was about
to sacrifice himself and die. But
without taking anything away from
him, his intention—to expose the
mayor via Facebook Live—also
reeks of “bahala-na” desperation,
but understandably so (he couldn’t
get hard evidence).
Several reviews do not think much
of the resolution. “His (Sisoy’s)
eventual transformation into a
reluctantly gun-toting, Facebook
live-streaming survivalist
revolutionary,” writes Keith Uhlich,
“is pure fantasy.” For Jason Liwag,
the film’s “narrative culmination
is a little outlandish,” though
Hugo Yonzon IV says that it was
“tempered with a minute injection
of hope,” which “really isn’t much,
but it’s more than we get on a daily
basis . . .”
The cynicism is obvious, but The
Missing Eight is marked by this
23
very same skepticism. The film
is all too aware of the problem
it faces, but it does not really
go for a clear, unambiguous
resolution, either. Will and should
the mayor be convicted? Will his
media person be able to spin the
revelations? Will they seek to
discredit Sisoy? At least, though, he
never kills off all the villains the
way action heroes did in the 1980s
(though that certainly meant a
more definitive outcome).
Today, open-ended endings can
be chalked up to a jaded outlook;
unadulterated happily-ever-afters
are out, even in romance movies.
At any rate, the lack of follow-
through seems to have been
deliberate. “This time,” shares
Direk Erik, “we end things just
like in real life – there is a lot of
unfinished business.”
Intentional or otherwise,
The Missing Eight’s graphic,
unambiguous representation
of Philippine society contrasts
with its tentativeness to follow
through on Sisoy’s exposé. Said
to be Direk Erik’s “angriest”
production, the film devotes much
care and screentime to stage the
violence, but is less certain over
the aftermath of Sisoy’s decisive
act. The film wants to resist, and it
certainly does. Yet it is nevertheless
marked by an uncertainty over the
next step. We’re left wondering
what will happen as Sisoy drives
out of town in the final scene. Bitin,
even after three hours.
Mayor Eusebio’s unwitting
confession gives the narrative
some momentum, but then it
tapers off somewhat. At the point
of no return, and driven by a sense
of finality, Sisoy invites Roman,
Sisoy’s informant and inmate-
hitman, “Let’s finish this.”
But Roman simply walks off to go
home to his mother, and just falls
by the wayside due to his injuries.
This after killing all his fellow
hired goons. Clearly, this is a not a
resistance born from the greater
good, but the same could be said of
Sisoy too. He invokes the general
principles, but he only fought
against the mayor after Ariel and
his colleagues were murdered.
Indeed, Sisoy’s very resistance is
compromised at its core. Mayor
Eusebio (or the film) knows
this, calling him only a “one-
fourth” journalist during the
confrontation. More importantly,
Sisoy could have done what he did
only because he was still “in” the
rotten system, enjoying the favor
and protection of the mayor.
Anyway, with Sisoy’s call to end
things once and for all, one at least
hopes for a sequel. But over year
since its release, the series creators
apparently do not have any
immediate plans to carry on Sisoy’s
24
story. Instead, they have opted for
a prequel that will detail the rise to
power of Mayor Eusebio. So there
is no envisioning of what a post-
Eusebio landscape might look like.
Assuming that will come to pass.
Resistance in a Time of Cynicism
If The Missing Eight does not
tackle the aftermath, it could
easily chalked up to a lack of
time. But with over three hours
of screentime, it could have easily
done this. Thus, the lack of follow-
through can arguably be traced
instead to the limit of the film’s
politics. This is not a diss, a wish
that it could or should have been
more radical: how it could have
avoided showing how a broken
system can be undone only from
the inside.
On the contrary, the lack of
follow-through is arguably a
poignant illustration of a dire
political predicament: the lack
of a formidable opposition,
and a cynicism and relative
powerlessness against an enduring
system, which must nevertheless
be resisted. Yet it is also so
intractable that it also shapes the
very resistance (and the portrayal
thereof ) that it generates, limiting
the extent by which one could
imagine a life beyond it.
In this light, Mayor Eusebio’s “one-
fourth” comment, which seems
unnecessary, is very telling. A line
important enough to be uttered
twice, it is directed not just against
Sisoy, but also against the film
itself. The message is clear: Sisoy’s
(if not the film’s) resistance is
incomplete or inauthentic.
A Zeitgeist?
To be fair, many other recent
productions share this conviction
to resist, while tentatively pushing
back as well. In Fuccbois, the two
protagonists manage to kill, albeit
in a messy, unplanned encounter,
a powerful mayor (a strike against
the political elite), but the ending
has them simply fleeing, like Sisoy.
Similarly, in Babae at ang Baril, the
heroine manages to reject violence,
specifically the eye-for-an-eye
ethos, despite being brutalized
herself. She throws away the gun,
but that is that.
25
In Aswang, the violence of the
political order is “metaphysicalized”
into an unseen, malevolent force
whose fearsome brutality is
foregrounded, but only at the cost
of turning it into an otherwordly,
unreachable, if not unstoppable
entity altogether. It is hard to fight
against an enemy like that.
These are randomly selected films,
but they seem to hint at a pattern.
They arguably take off from a
climate of cynicism and relative
powerlessness, while seeking
to resist and transcend it all the
same. They can only score little
victories and take small steps, for
the moment at least. But these,
along with The Missing Eight’s
international accolades, must be
appreciated still, if only because
they face unpropitious political
conditions.
Pinsala at Pamilya
Aristotle J. Atienza

GENSAN PUNCH
Winner, Best Achievement in Cinematography and Visual Design
(cinematography: Joshua Reyles, production design: Brillante Mendoza)
Nominee, Best Achievement in Editing (Ysabel Denoga, Armando Lao, Peter
Arian Vito)
Nominee, Best Achievement in Sound and Aural Orchestration (music: Diwa
de Leon, sound design: Albert Michael Idioma, Alex Tomboc)
Nominee, Best Performance (Ronnie Lazaro and Shogen [duo])

26
S
a Busan, sasadyain ni Shogen si Brillante Mendoza bitbit ang
talambuhay na nais maisapelikula. Tungkol ito sa isa niyang
kababayan, si Tsuchiyama Naozumi, na nagtungo sa Pilipinas upang
maging propesyonal na boksingero nang hindi siya pinagkalooban
ng lisensiya sa sariling bansa dahil sa kapansanan. Dito babatay ang
pelikulang Gensan Punch (2021). Para sa namihasa sa mga natatagpuang
kuwento, tila naiiba ang direksiyon ng produksiyon sa kolaborasyon.
Subalit hindi lamang dito aandar ang kuwento sapagkat bago pa ang
trato ng aparato ng pelikula sa mga talambuhay, sumasabay na ito sa mga
nauna nang pagsasanay ng pagbabad sa tagpuan. Mapahahalagahan sa
mga inilalatag na relasyon ng mga salik ng pelikula ang estetika, na hindi
estatiko, kaya’t ang posibilidad na makapagpabago. Sa madaling sabi,
hindi lamang mauuwi ang proyekto sa paglalakbay ng manlalarong may
kapansanan kundi ramay din ang iba pang buhay na makikipagtalaban sa
kani-kanilang pakikipag-ugnayan.

Magsisimula ang Gensan Punch Japan, dala ang pinagpagurang

sa Okinawa. Kahit nagagawang
makapagsanay nang may
protesikong binti, nababahala
si Nao (Shogen) sa kalagayan ng
kaniyang lisensiya sa boksing.
Sa malasakit ng Japan Boxing
Committee sa tinatamasang
kondisyon, hindi inaprobahan ang
kaniyang aplikasyon, at sa halip,
itinuro na subukang kunin ito sa
ibang bansa. Kaya mapapadpad
sa siyudad ng General Santos,
at sa gym ng Gensan Punch,
magsasanay siya kasama ng iba
pang tulad niya na hangarin
ang maging propesyonal na
boksingero. Tututukan siya ni
Rudy (Ronnie Lazaro) na tutulong
din sa paglalakad ng kaniyang
lisensiya, at habang tinutupad
ang mga kahingian para dito,
makakahalubilo niya ang sari-
saring tauhan at pangyayari ng
komunidad. Nang makabalik sa
lisensiya galing sa Pilipinas, muli
siyang bibiguin ng opisina.
Sa namamayaning talambuhay
sa pelikula, maaaring maihilera
si Nao sa iba pang tauhan na
matagumpay na nalalampasan
ang mga pagsubok sa buhay
kahit may kapansanan. Kung
tutuusin, lalong-lalo na sa kaso
ng Hollywood, nakapagbuo
na ng ganitong tradisyon ng
pagmamatyag sa diskapasidad
na maiuugnay sa pang-araw-
araw na karanasan ng pagtitig sa
pisikal na kapansanan. Sinasabing
gumagabay ito sa pagbuo ng sarili
at iba at nakapagtatakda ng mga
hindi makatwirang paghuhusga.
Sa Gensan Punch, bagaman hindi
mapigilang kunan ang katawan
sa pagsunod sa buhay ni Nao
sa komunidad, na masisisi sa
sinematograpiya at disenyong

27
pamproduksiyon ng pelikula,
naiwasang titigan ang kapansanan
sa pagtatangkang ipaliwanag
ang salimuot ng usaping ito
sa imahinasyon ng pamilya.
Kumakapal ang karanasan sa
kapansanan sa pagmamapa ng
mga kontradiksiyon sa abilidad na
hindi lamang nagpapaiba kundi
nakakapagpatulad sa iba pa. Gaya
nang sa isang iglap, maaaring
magkakapansanan sa boksing, o sa
namasdan sa napilayang ginang sa
binisitang klinika na nagpatibay
sa kasiglahan ng pangangatawan
ni Nao.
Sa kaniyang pamilya, walang duda
ang pagtanggap sa kalagayan.
Ito ang nagbubukas at nagsasara
sa pelikula. Suportado siya ng
ina sa pagtungo sa Pilipinas at
buong loob na yayakapin siya
nito sa kaniyang pagbabalik. Sa
pagitan, samantalang uukilkilin
siya ng paroo’t paritong gunita
ng pagkabata na kuwestiyon ang
ama, isang puting dayuhan na
militar, unti-unting mahuhulma
ang panibagong pamilya sa
General Santos sa matatalik na
engkuwentro na malilikha sa loob
at labas ng gym kabilang na ang
pakikipagkaibigan kay BonJovi
(Vince Rillon) at pakikipagrelasyon
kay Melissa (Beauty Gonzales).
Ibang-iba ito sa nararamdaman
niya sa kapaligiran ng palakasan
sa Japan na lalo pang sisilakbo
sa muli niyang pagtungo sa
opisina kasama ngayon ang ama-
28
amahang si Rudy. Ilalaban niya
rito ang tagumpay ng kaso ni
Nao na payapa nang tatanggapin
ng anak-anakan sa mauulit na
desisyon ng ahensiya nang hindi
siya muling bigyan ng propesyonal
na lisensiya. Hindi matatanggi
ang bigat ng relasyon nina Nao at
Rudy na nahulma sa talaban ng
mga karanasan ng pagkakaiba at
pagkakatulad, sa paliparan man,
daungan, gym, tahanan, at boxing
ring, ay naitatawid at naitutuwid
sa matitingkad na pagganap
nina Shogen at Ronnie Lazaro
na pumupuno sa kahinaan at
kalakasan ng isa’t isa.
Kaya’t mag-aalangan na hindi
lamang kay Nao ang pelikula.
Dahil naipopook nito ang danas ng
pagkilos ng sari-saring katawan,
hindi nakakatakas ang atensiyon
sa kaibang direksiyon sa espasyo
ng pangingibang-bayan (na
maaaring magpaliwanag din
sa paglipana ng mga larawan
ni Manny Pacquiao). Si Nao na
galing sa Japan at dadayuhin
ang Pilipinas, at kahit maging
si BonJovi na mula sa Maynila
ay pupuntahan ang General
Santos. Dito nila hahangarin ang
pangarap. Hindi pa sa paraang
kahina-hinala, na kahit umiiral,
ay hindi ito ang hakbang na nais
daanan. Nakadaragdag pa sa
salimuot na iyan ang prostesis ni
Nao na bagaman matatagpuang
kuwestiyon sa pinanggalingan
ay tila maayos na tutugunan sa
pinatunguhan. Hindi sinasabing
mabuti o maunlad ang kondisyon
ng diskapasidad sa Pilipinas
na may sariling batas na rin na
kumikilala sa karapatan ng may
kapansanan. Maaari pa ngang
maging palaisipan ang kahinaan
ng bansa na idamay sa kaniyang
imahinasyon ang kalagayan ng
kapansanan na naisasalin sa
suliranin ng pagpapatupad, o
maaari din naman sa katanungan
kung paano nga ba isinasagawa
ang relasyon sa mga kababayang
may ganitong kondisyon.
Kinokomplika pa nga ng kaibang
paglalakbay ang presensiya
ni Taku (Takuhei Kaneko), isa
ring Hapones subalit walang
kapansanan, na nagsasanay din sa
Gensan Punch. Maaaring agarang
sabihin na kahinaan ang nipis
ng kaalaman sa kaniyang buhay
upang maihambing sa kapal ng
karanasan ni Nao subalit hindi
maipagkakaila na maaaring
magpatibay pa itong lalo sa
29
katwiran ng pelikula sa mga
karanasang bunga ng engkuwentro
sa espasyo ng pangingibang-bayan.
Ano pa kaya ang magtutulak kay
Taku upang manatili sa bansa?
Sa katapusan ng Gensan Punch,
huhubaran ng pelikula ang
nakasanayan sa paglalantad ng
nakagawian. Hindi sa pagpapakita
ng mga eksena ng pagkakamali
na karaniwan sa katatawanan
kundi sa pagtatagni ng mga tagpo
ng pagpepelikula sa Pilipinas at
sa Japan na kumukuha ng mga
pamamaraan sa paglikha nang
nahuhuli ang bihirang damdamin
ng pamilya sa paggawa. Sa
paningin ng direktor na nakilalang
matalik ang tunay na buhay sa mga
ginagawang pelikula, ipinapaalala
ang sariling pagmamalay na hindi
pa rin ito tunay na buhay. Bagay
na nakadaragdag sa komplikadong
kalagayan na tinatamasa niya sa
kasalukuyan, sa loob at labas, mas
lalong-lalo na sa loob, ng bansa.
Cusps of Catastrophes
Ian Harvey A. Claros

KUN MAUPAY MAN IT PANAHON

Nominee, Best First Feature

30
A
s a phrase on its own, Kun Maupay Man It Panahon, translated to
English as “whether the weather is fine,” opens up a moment of
indecision, conditionality, and perhaps precarity premised on both
time and weather. In the case of Carlo Francisco Manatad’s debut film,
it commences with Miguel (Daniel Padilla) waking up to a mountain of
rubble and ruin with its vestigial walls barely standing to suggest that
it was once a home. Around him were tossed furniture, a huge business
signage, dying fishes out of the water, other survivors walking by, and
corpses in various stages of decomposition. All of these are conjured in
one frame to offer a sight of death yet almost always embedded in an
interplay of anguish and dark humor as if to propose a sense of vitality
and a march of time. However, as Miguel surveys the place of unending
wreckage, he is met with an announcement that another typhoon is about
to come. It is, undoubtedly, the power of Kun Maupay Man It Panahon: to
render a genus of apocalyptic time within cinema where storms haplessly
come and go leaving little to no space for the rituals of mourning and
rehabilitation to proceed. It is an apocalypse made more terrifying with
the idea that no one ever fully distinguishes whether the sunlight signals
survival or an anticipation of another storm.

Set as an aftermath of the super- be a performer, and the latter is

typhoon Haiyan, the film centers
on Miguel alongside his mother
Norma (Charo Santos-Concio)
and friend Andrea (Rans Rifol)
who, upon knowing the news of
an upcoming storm, decides to
evacuate to Manila, presumably
a site of refuge. Marred with
insurgencies, feudalism, and
uneven development, Kun Maupay
Man It Panahon intensifies the
provincial anxiety by including
climate emergencies as triggers
to abandon a historically
inhospitable rural life. While
Miguel’s choice to flee Tacloban
is clear, both Andrea and Norma
do not share the same passion for
it as the former is only enticed by
a Manila cabaret as a chance to
only bent on finding his estranged
husband Luis. These differing
motivations further complicate
the already circuitous exodus
outside of their city.
Moreover, Manatad constructs
a storm-wrecked Tacloban as a
frantic dog-eat-dog world where
violence can be a weapon, a
consequence, or an inescapable
fate. In the early stages of the film,
we see a tug-of-war between a
father and a child, and Miguel and
Andrea to loot for live chicken.
Both characters would also be able
to steal additional food and a bike
yet would then be forcibly stolen
from them by a gang of kids. Thus,
Andrea’s acapella interjection of

31
Kantin Dudg’s Gi Fingers never
falls short in disclosing a total
shortage of needs.
The entire film is built on a
formidable production design
that is able to map out a city
in disarray and exteriorize the
trauma of the typhoon’s survivors.
With the lack of proper burial, for
instance, it efficiently simulates the
disintegration of basic categories
between life and death, internal
and external, and public and
private – paving the way of a new
apocalyptic world order. Miguel
himself calls his own hometown
infernal as they pass through its
dark, mud-soaked, and debris-
laden labyrinths. As the three of
them walked by a bay, one can
notice numerous refrigerators
floating adrift in the shore like
coffins – simultaneously juxtaposed
with the joy and nonchalance
of the children playing as if
it were a usual summer time.
32
What is further laudable is that
the constellation of debris and
cadavers mobilizes a rehearsal of
the abject that draws the audience
both distant and close to the
ground zero of Typhoon Haiyan
without romanticizing the brutality
of such a natural disaster.
Crucial in the filmic aura of Kun
Maupay Man It Panahon is the
Waray language which is not only
deployed as a passing tokenism
but as an integral aspect of both
screenplay and performance.
For the case of Daniel Padilla, his
lines were spoken as a native of
Tacloban as he also enunciates the
language based on his proximity
and affection for his hometown.
On the other hand, Charo Santos,
as a Tagalog, speaks Waray
empathically internalizing the
untranslatability of the region’s
collective suffering. Manatad’s
linguistic choice does not
only champion the protracted
desires and struggles for the
representation of various mother
tongues in national cinema but
more ostensibly lays bare before
its global audience a particular
tonality of trauma as a visceral
repository of Leyte’s catastrophic
history. Thus, it is a cinema that
implicates itself in the working-
through of trauma by talking to the
victims first before the world.
In the climax of the film, Norma
asks his son Miguel to intentionally
beat her as the Astrodome only
accepts wounded survivors.
Certainly, this is in the hopes of
finding her husband in perhaps
the only place where they have
never been to in the entire city.
At the first instance, Miguel
disagrees to this bizarre proposal
yet provoked by a peculiar sense
of mercy and retarded instincts, he
gives in to injure his own mother
with a stone. Crippling and in
immense pain, Norma finds her
way inside the Astrodome only to
realize that Luis is not there. At
this moment, Miguel is left alone
to fend for himself and proceed
with the exodus to Manila since
Andrea was already deified by a
Christian cult who took notice of
her miraculous powers when she
brought back an ailing puppy to
life. This uncanny scene would not
even be confronted by the slightest
resistance from Andrea or Miguel;
only with an almost catatonic
surrender.
33
The film is replete with these
eerie encounters that reveal
how auteurial choices at large
have obviously embraced the
surreal and absurd in rehearsing
the aftermath of Haiyan.
Without question, this attests to
Manatad’s métier in cinema as
a medium of narrating difficult
histories and also a concerted
effort and self-reflexivity not
to fall prey into the trap of
melodrama only to romanticize
resilience. The limit, however,
of this technique is that there
is a slim chance of originality
since there has almost always
been a propensity to conscript
postmodernity and fragmentation
as a convenient handling of
trauma. In fact, familiar styles of
filmic exploration on the surreal
can be seen in Khavn de la Cruz’s
Balangiga: Howling Wilderness
(2017) where Manatad has worked
extensively as editor. In effect,
the film’s ecological commitment
and historicity are also distracted
if not impeded with its belabored
myth-making of the Typhoon
Haiyan’s aftermath. At any rate,
the missing piece here is the
very materiality and the broad
networks of power that render
Miguel’s home inhabitable leaving
him with the only recourse
to journey to Manila with no
assurance that his choice is not
another catastrophe.
A Departure, a Return
Emerald Flaviano Manlapaz

LAST DAYS AT SEA

Nominee, Best First Feature
Nominee, Best Editing (Anna Silva & Katrin Maria Escay)
Nominee, Best Achievement in Cinematography and Visual Design
(cinematography: Venice Atienza & Moshe Ladanga)

34
K
arihatag is a place between mountain and sea, and if one climbs high
enough up a mountainside, one can see across the rippling waves
below and clean through the light to where the sea meets the sky.
Perhaps people in Karihatag, at some point in their lives, look up at the
sky and out to the sea—not to discern whether a storm is coming and
whether tomorrow early morning will be a good time to set out with their
nets in their fishing boats—but in wonder.

Atienza first came to Karihatag in common beauty, its unhurried

2014 to photograph the community
for an NGO, who wanted to find
out how the people set up a marine
sanctuary and how they survive
during typhoon season.1 She first
met Reyboy then, who showed her
around Karihatag. Very curious
about her work, he struck her
as a precocious child. Reyboy
pulled her back to Karihatag, and
Atienza returned in 2018 to make
a documentary focused on the
boy, as he was about to leave his
hometown to study high school in
a bigger town.
But it is not entirely Reyboy that
we get; the last days at sea can
very well be Atienza’s as well.
This is obvious in how Karihatag
is framed as a place of idyllic
childhood. Of course Reyboy, who
has never been away from the
place where he was born, does
not yet realize its beauty. Instead
it is Atienza’s longing gaze that
coheres the place, her voice that
cuts through. She casts Karihatag’s
provincial life, with a determinedly
pastoral gaze: the sky bursts
into soft fires at dusk and stars
puncture the night as points of
light overhead. Blessed afternoon
light caresses sleeping figures—
filmy curtains blowing in a gentle
breeze, a kitten making biscuits in
its sleep, Reyboy dozing on a sofa.
It is Atienza’s urgency to capture
Reyboy’s departure that drives the
documentary, her need to give his
leaving symbolic weight. And to
signal his growth out of childhood
with his departure, it is necessary
to mark the place that represents
his childhood—or at least the
feeling that Atienza associates
with it, remembered through
conversations with Reyboy—and
render it pristine and separate.
Karihatag is a place between
mountain and sea, but Atienza
does not let us go much further
than this. It is somewhere at least
where people speak Visayan.
(Karihatag is one of the barangays

1 “Last Days at Sea | Berlinale Meets... Venice Atienza | February 2021,”

Berlinale - Berlin International Film Festival, YouTube, March 1, 2021, https://
youtu.be/0_BFpzHQhbs.

35
of Malimono, Surigao del Norte.)
Most of the livelihoods of its
people are dependent on fishing.
Reyboy’s favorite thing about the
sea of his childhood, the “pasig”,
an underwater rock where the
fish live, sends the film off into
some exposition of Karihatag as
an embodied place. It must be
noted, however, that Atienza’s
distanced voice narrates its story
as if of a place lifted from myth,
out of time, flattening its history
and making Karihatag featureless.
The community’s protection of the
fish population near its coastline
(hence the “pasig”) gestures at the
people’s effort to look after future
generations of Karihatag fisherfolk,
even at the risk of losing their
lives fishing in the open sea with
2 “Last Days at Sea,” Berlinale, March 1, 2021.
3 “Last Days at Sea,” Berlinale, March 1, 2021.
36
their small motorized bangkas. But
who will inherit the sea? Uncle
Buboy has a son in the military,
the one who has vowed never
to be a fisherman like his father
after being at sea in the middle
of a storm. Atienza’s own dream
for Reyboy to continue the work
of living off and taking care of the
sea2 is threatened by the world
outside Karihatag and the person
that Reyboy might become.
For Reyboy, through Atienza at
least, is the ideal child—playful
and dreaming. The sky above
the sea is a constant haunt, a
launching pad for flights of fancy.
That the places that they go to and
the turns in conversation were
entirely determined by Reyboy3
comes as no surprise, though it is a
wonder that a child, as he is, exists.
This is his appeal to Atienza, and to
us by extension. If Reyboy is aware
of the precarity of their living in
Karihatag, he does not show it,
giving him a sort of vulnerability,
a tenderness that makes one think
he grew up cushioned by love and
care. (He has an older brother who
died as an infant, before Reyboy
himself was born.)
While Atienza’s melancholia is
transparent from the beginning,
scenes that imply Reyboy’s leaving
and consequent change still strike
as quite heavy-handed. A stark
picture of Manila—or the city, in
general—as the blighted place of
greed and callousness can only
complement the idealization of
Karihatag—the rural village, in
general—as the paradisaic home
that can never be returned to.
But this is perhaps the worst that
can be said of Last Days at Sea.
Atienza’s affection for Reyboy
is generous and by no means
patronizing, and their friendship
stands on equal footing. Atienza
made sure that Reyboy was
comfortable with the project,4
even at the risk of exposing herself
to critical scrutiny. And she is
exposed doubly: during editing,
Atienza confronted questions
about how she connected with
Reyboy throughout the filming
process and realized how she
looked to Reyboy to articulate
a loss that she didn’t know
existed—of wonder at the world,
of a certain kind of courage.5 As
the film unfolds, this bittersweet
recognition is likewise revealed
for its dependence on both Reyboy
and Karihatag, taking literal
form at one point in a dream of
herself growing old while Reyboy
remained the same. Atienza’s
openness does take some bravery,
but now she can, as Reyboy does,
wish big again.

4 In an interview, Atienza revealed that Reyboy was uncomfortable with being

filmed alone, so she attached lavaliers on both Reyboy and herself and asked
another member of her small crew to film in her stead. Hence the conversations
between Atienza and Reyboy around which much of the documentary revolved.
5 “VdR 2021 | Q&A | Last Days at Sea | Venice Atienza,” Visions du Reel,
YouTube, April 17, 2021, https://youtu.be/tQwFQk_gnZc.

37
IKINAHONG PALABAS
Andrea Anne I. Trinidad

TAO PO
Nominee, Best First Feature
Nominee, Best Performance (Mae Paner)
Nominee, Best Screenplay (Maynard Manansala)

38
B
inabalangkas ng pelikulang Tao Po (Paner, 2021) ang apat na
magkakahiwalay na kuwentong naitatagni ng pagkakasangkot
ng bawat isang tampok na indibidwal sa marahas na giyera
kontra ilegal na droga na naging pangunahing mukha ng anim
na taong pamamalakad ng administrasyong Duterte. Nakakahon
sa loob ng isang bakanteng teatro na tumayong lunan para sa
kabuoang produksiyon, natatangi ang naging pagbibigay-buhay ng
nag-iisa nitong aktor na si Mae Paner sa apat na tauhan: (1) isang
mamamahayag na naatasang magbigay ng panayam sa mga mag-
aaral ng asignaturang photojournalism na siyang nagdiin sa mga ito
ng mapanghamong sitwasyong naghihintay sa kanila sa larangan,
(2) isang zumba instructor mula sa isang barangay na nabudol ng
pangakong makataong rehabilitasyon nang sabay na pinatay ang
kaniyang asawa at anak, (3) isang pulis na narerentahan din bilang
hitman na unang nasilaw sa imahen ng kaginhawahang maidudulot ng
pagkakasimot ng lahat ng kinikilalang ‘salot ng lipunan’ na kalaunan
ay binagabag ng katotohanang pinamamayanihan ang impormal na
operasyon ng maiimpluwensiyang tao na ginagamit ang koneksiyon
bilang pananggalang, at (4) isang bata na nasaksihan ang unti-unting
pagkakalagas ng kinabibilangang komunidad na sa huli ay tuluyan ring
inulila ng pangunahing kampanya ng rehimen na mala-ispektakulong
tinrabaho ang ipinangako nito mabilisang pagbabago.

Sa nagsasariling pagganap ni Bukod sa pagkakalublob sa gabi-

Paner, pinasinayan ng kaniyang
mismong pagkatao– ng kaniyang
boses, kumpas, at kilos– ang
iba’t ibang hibla ng mga oral na
salaysaying hinubog ng proyekto
bilang mga monologo. Kung
uusisain ang nilalaman ng bawat
isang naratibo, madaling sabihin
na hindi na bago ang layon ng
pelikulang mailahad ang kuwenta
ng mga kuwentong nagtatangkang
ibalik ang dangal na nararapat
para sa mga biktima, sa kanilang
mga naiwang pamilya, at sa mga
basta na lang nadawit sa kagimbal-
gimbal na kaliwa’t kanang
patayan.
gabing balita na nagsasalaysay
ng mga pirasong makabubuo
sa pangkalahatang hitsura ng
“Oplan Tokhang”– na muling
ipinaalala sa simulang bahagi
ng pelikula bilang pagtatambal
ng mga terminong ‘toktok’
(akto ng pagkatok) at ‘hangyo’
(akto ng pagmamakaawa) sa
wikang Bisaya, may umiiral
na ring artikulasyon hinggil
dito sa mundo ng pelikula at
dokumentaryo. Ang lahat ng
ito ay nakapagpatunay kung
gaano kabuway ang iginigiit na
pakahulugan ng pamahalaan sa
operasyong itinatampok bilang

39
inosenteng pagbabahay-bahay
ng kapulisan upang pakiusapang
magbagong-loob ang mga natukoy
na gumagamit at/ nagtutulak ng
ilegal na droga.1 Sa tulong ng mga
produksiyong sinundan ng Tao
Po, napalinaw at napakapal ang
higit na makatotohanang mukha
ng Oplan Tokhang na taliwas sa
pinaninindigan ng estado. Kaiba sa
imahen ng banayad na pagkatok
at magalang na paghiling, higit
na napatingkad ng masisining
na produksiyon ang destruktibo
at garapalang panloloob at
panghihimasok na taliwas sa
esensiya ng pagbigkas ng katagang
“Tao po.”
Gaano pa man karami ang
mga artikulasyong nabuo na
nakahulma sa pagsisiwalat ng
tatak “Dutertismong” katumbasan
na ng madugong War on Drugs,2
hindi pa rin mapasusubalian
ang moralistikong tunguhin ng
pelikulang Tao Po na kolektahin
at iartsibo ang mga tiyak na
mukha ng karahasan mula mismo
sa mga naging direktang sangkot
dito. Sa paghahain ng koleksiyon
ng mga kuwentong umaalagwa

1 Jhoanna Ballaran, “Bato Assures ‘Bloodless’, ‘Real Oplan Tokhang’,” Inquirer,

Enero 12, 2018. https://newsinfo.inquirer.net/959650/bato-assures-bloodless-
real-oplan-tokhang (inakses Nobyembre 25, 2022).
2 Imelda Deinla at Björn Dressel, pambungad sa From Aquino II to Duterte (2010-
2018): Change, Continuity– and Rupture, pinamatnugutan nina Imelda Deinla at
Björn Dressel (Singapore: ISEAS Publishing, 2019), 13.

40
sa madugo ring proseso ng
pagtukoy at pagdedebate
tungkol sa kabuoang bilang
ng mga nabiktima,3 kinikilala
ng pelikula ang pag-iral ng
ilang piling katauhan sa likod
ng naglalakihang numero at
pinatitingkad ang kanilang
pagiging mga Tao (po) na kapwa
may bitbit-bitbit na personal na
naratibo. Kasabay nito nagawa
rin na ipaalala ng palabas ang
mga kagagawan ni Duterte at ng
mga galamay nitong institusyon
na marapat pang singilin lalo
na sa mga panahong lumilimlim
ang pagtutok dito ng madla na
higit nang nakatuon sa papalit na
pamunuan–isang palasak nang
kuwento ng mabilisang paglimot
na nagagamit upang tuluyang
matakasan ang mga pananagutan.
Bukod sa kapuri-puring tapang
na ibandera ang mga personal
na naratibo ng karahasan upang
lumikha ng alingawngaw na
maaaring makagambala sa pag-
alis ni Duterte sa poder, marapat
ding kilalanin ang lakas ng loob
ng mga manlilikha sa likod ng
proyekto na ihulma ang dulang
may parehong pamagat na unang
itinanghal noong 2018 bilang isang
pelikula. Datapuwat mababakasan
ng kakulangan sa mabisang
pagkasangkapan ng mga teknikal
na kahingian upang maitawid
mula entablado tungo sa iskrin,
ibinabalik ng proyekto sa alaala
hindi lamang ang mga kuwentong
unti-unti nang ibinabaon ng
naging pagpapalit-administrasyon
kundi pati na rin ang ugnayan ng
dalawang kinasangkapang sining

3 PumaPodcast, “ Episode 1: Kumusta na ang Numbers sa War on Drugs?”

Tokhang sa Tokhang (podcast), Hulyo 2020, inakses Nobyembre 21, 2022,
https://open.spotify.com/episode/0OaQFPoHlFeDh5XAjtHH9K.

41
sa isa’t isa. Mahalagang piyesa kung
gayon ang pelikulang Tao Po sa
posibilidad nitong makapaglunsad
ng mga kontemporanyong diskurso
hinggil sa mahaba nang pag-uugat
ng pelikula sa teatro pati na rin
ang partikular na ugnayan ng
mga ito bilang aliwang naitatawid
sa politikal na pamumunang
may potensiyal na makagising sa
kalooban ng manonood.
Kung babalikan muli ang
nabanggit nang nakikinitang
layunin ng pelikula na kumalap,
kumolekta, at mangalaga ng
mga kuwentong unti-unti nang
nalilimot sa pagragasa ng mga
panibagong karahasang nauugnay
sa pagpapalit ng pamunuan,
maipagpapalagay na epektibo rin
ang pagkakaluklok ng produksiyon
sa loob ng isang kahon– isang
literal na black box theater– upang
ingatan ang pira-pirasong materyal
na marapat pang buklatin at
42
bulatlatin sa hinaharap. Sa
pasyang ilagak ang pagtatanghal sa
loob ng isang literal na kahon na
muli pang naikakahon ng dagdag
na pag-aartisbong ginawa ng
kamera sa naunang produksiyong
panteatro, maihahalintulad ang
proyekto sa isang music box na
madalas ding pagbidahan ng
isang artistang nagpapaulit-ulit
sa ginagawa nitong pagtatanghal.
Subalit, sa halip na tamis, hinahon,
at kaginhawahan ang mababalik-
balikan sa bawat pagbubukas ng
kahon, naitatambad ng pelikulang
Tao Po ang pait, hinanakit, at ingay
na hindi marapat kalimutan.
Sa pagkiling sa akto ng pagkakahon
sa isang tiyak na lunan, nasaksihan
din sa pelikula ang panibagong
paraan ng pag-aangkop ng sining
sa konteksto ng pandemya. Kung
karaniwang ikinahon ng ibang
pelikulang nalimitahan ng mga
patakarang restriktibo ang mga
karakter sa isang locked-in shooting
o kaya naman sa pagpapaloob sa
mga ito sa maliliit ding kahong
digital na nabibiswalisa ng mga
Zoom calls at Facebook messages,
pinili ng Tao Po na bumalik sa
tanghalan kung kailan ito sarado at
hindi nabibisita ng publiko upang
masandigan pa rin marahil ang
pisikal na gusaling naging saksi sa
makailang-ulit nang pakikisagupa
ng sining sa samot- saring politikal
na karahasan.
Sa hindi rin pagsunod sa
nasaksihan nang yapak ng
pagpapaskil sa mga online
streaming site ng rekording ng
dula upang saglit itong maakses
ng parokyanong nananatili
pa rin sa kani-kanilang bahay,
sabay ring naididiin ng pelikula
ang kapanglawan sa nag-iisang
presensiya ni Paner sa entabladong
43
nahuhubaran din ng disenyong
biswal na madalas asahan sa isang
teatrikal na pagtatanghal. Kung
babanatin, maaaring sabihin na
hindi lang nauuwi sa paglikha ng
karimlan ang nag-iisang pagganap
ni Paner. Maipagpapalagay na
kinakatawan din nito ang imahen
ng di-pagpapatinag bagaman
halos nag-iisa na sa tunguhing
ipagpatuloy ang panunuligsa
sa Oplan Tokhang bilang isang
paksaing hindi na halos nagalugad
ng mga kasabayang pelikula.
Mula rito, taktikal din tuloy kung
maituturing ang pagkakahon at
pagpapaloob ng mga monologo
una, sa loob ng teatro, at ikalawa
sa anyong pelikula upang pag-
ingatan–tulad ng mga obhetong
ikinakahon–ang tila isa sa mga huli
nang materyal na nagagawang
isa-isahin ang mga karahasan ng
rehimeng Duterte.
Sa pag-iingat sa isa sa mga
nalalabing artikulasyon tungkol
sa War on Drugs ni Duterte, may
kaakibat ding pag-aangkop ang
akto ng pagkakahong nasaksihan
sa pelikula. Una, ang pag-aangkop
ni Paner na may kasanayang
magbandera ng sariling katawan
bilang Juana Change sa mga
kalsada’t lansangan tuwing may
rali at mobilisasyon.4 At ikalawa,
ang pag-aangkop ng bagong paraan
ng pagkukuwento na umiiwas sa
gamit na gamit nang pagkuha ng
mga aktuwal na eksena ng patayan
at ng kaguluhang nireresulta nito
sa mga purok, eskinita, at kalsada.
Pagmamagandang-loob sa isang
banda ang mga pag-aangkop na
ito na nakasandig sa etikal ring
pagsasalang-alang na hindi na
lalong mapanghimasukan pa ang
katawan ng mga biktimang una
nang nakaranas ng panghihimasok
mula sa kapulisan.
Subalit, may implikasyon
ding marapat pagnilayan ang
pagpapaloob nito ng realidad sa
isang kahong malayo sa kalye
kung saan naging laganap ang
karahasan. Sa paglaho ng mga
komunidad na binubuo ng aktuwal
na mga taong binagabag ng Oplan
Tokhang, sabay ring nawala
4 John Carlo S. Gloria, “Ang Mekanismo ng Satira: Isang Tropolohikal na
Sipat sa mga Video ni Juana Change,” Tesis Gradwado., (Ateneo de Manila
University, 2021).
5 Doreen Fernandez, Palabas: Essays on Philippine Theater History (Manila:
Ateneo de Manila University Press, 1997) viii.
44
ang mga usiyoso, tumatanaw,
nanonood, at nangingialam sa mga
pangyayari. Sa pagkakalagak sa
anyo ng dula at pelikula na hindi
madaling maakses ng komunidad
na ginambala ng madugong giyera,
nagiging suliranin ang kawalan ng
saksi gayong sino pa ang patuloy
na makakapagkuwento ng usaping
nakatutok sa mga pigurang
inaalala ng palabas. Mainam
kung gayon na mabalikan ng
pakahulugan ni Doreen Fernandez
sa salitang ‘palabas’ na pamagat
din ng kaniyang proyektong
komprehensibong naglalatag ng
kasaysayan ng dula sa bansa.
Para kay Fernandez, dalawa ang
kahulugan ng salita.5 Tumutukoy
ang una sa “performance, show,
entertainment” na masasabing
naisakatuparan naman ng pelikula
sa timpladong pagganap ni Paner
bilang si Raffy Tima na kinakitaan
ng kontroladong pagsisiwalat ng
mga pangyayari on the ground.
Dagdag din dito ang kaniyang
eksahiradong pagpapatawa
na may pasundot-sundot ding
pamumuna bilang zumba
instructor na may kasanayan sa
wikang ginagamit ng komunidad,
ang kaniyang mahinahon at
patagong pangungumpisal
bilang alagad ng batas na may
tibay ng loob na pumatay, at ang
kaniyang infantilisadong pagganap
bilang bata na maaaninagan ng
maturidad sa naging paglalahad
kung papaano inubos ng
karahasan ang matalik niyang
kapitbahayanan. Gayumpaman,
binibigyang-kahulugan din ni
Fernandez ang ‘palabas’ bilang
“outward ... people-based and
community oriented.” Ibig sabihin,
mahalagang pumatungo muli
ang kuwentong inugat mula sa
komunidad sa komunidad upang
mailunsad ang anumang uri
ng pakikisangkot. Kung gayon,
paano pa kaya mailalabas at
maipapalabas ang ikinahon at
iningatang pagtatanghal pabalik
sa madlang hindi karaniwang
naakses ang mga espasyo
ng tanghalan? Paano kaya
maiiwasang mauwi na lang ulit
sa karahasan ng pagsisilid ang
mga kuwentong kakabit ng mga
biktimang una na ring isinilid sa
mga itim na plastic, patong-patong
na libingan at kalaunan, masikip
na mass graves? Paano kaya
mailalabas muli sa kamalayan ng
madla ang tila nananamlay nang
mga kuwento nitong naikahong
palabas?

Mga Sanggunian:
Ballaran, Jhoanna. “Bato Assures ‘Bloodless’, ‘Real Oplan Tokhang’.”
Inquirer. Enero 12, 2018. https://newsinfo.inquirer.net/959650/bato-
assures-bloodless-real-oplan-tokhang (inakses Nobyembre 25, 2022).
Deinla, Imelda at Björn Dressel. Pambungad sa From Aquino II to Duterte
(2010-2018): Change, Continuity– and Rupture, 1-36, Singapore: ISEAS
Publishing, 2019.
Fernandez, Doreen. Palabas: Essays on Philippine Theater History. Manila:
Ateneo de Manila University Press, 1997.
Gloria, John Carlo S. “Ang Mekanismo ng Satira: Isang Tropolohikal na
Sipat sa mga Video ni Juana Change.” Tesis Gradwado. Ateneo de
Manila University, 2021.
PumaPodcast. “ Episode 1: Kumusta na ang Numbers sa War on Drugs?”
Tokhang sa Tokhang (podcast). Hulyo 2020. Inakses Nobyembre 21,
2022. https://open.spotify.com/episode/0OaQFPoHlFeDh5XAjtHH9K.

45
Violent Erasures
JC Rosette

DEATH OF A GIRLFRIEND
Longlisted Film for 2021

46
*This review contains spoilers and mentions sexual assault.

A
scene at the end of Death of a Girlfriend explains much about the
film and its sympathies. By this point, the nature of the crime and
the identity of the perpetrator has already been revealed. On the
interrogation table, the perpetrator imagines Christine’s ravaged body
laid out in front of him. Dried leaves are falling, the music swells. He
looks at her tenderly. Is he sorry for what he did? The scene is almost
romantic, as if the macabre event that transpired was fated, an inevitable
outcome of a transgressive love. It is this romanticization of a crime,
however, that feels dated (at least for the more progressive-minded
population), like a sentiment that comes from another decade or century
when men could do the most heinous deeds and chalk it up to violent
emotions springing from love, e.g., jealousy, possessiveness, or dark
and murderous desires. Although at times, the idea that these emotions
somehow absolve violence, still bubbles beneath the current veneer of
our modern laws and public opinion.

In the beginning are three trying to establish their own

stories told by three men: the
boyfriend, the farmer, and the
forest ranger. A fourth character,
the police investigator, remains
disembodied, a seemingly
objective persona searching for
the culprit. We are then shown
a sequence of recollections, a
la Rashomon, as the men are
questioned to establish events
leading up to the crime. But
unlike the Japanese classic, Death
of a Girlfriend’s interrogation
moves faster, with individual
testimonies overlapping and
bleeding into each other. A
question posed to one man is
answered by another in the next
cut. Later, the contradictions
between narratives are treated
to quicker transitions, as if the
men are responding to each other,
version as truth.
This is a grim murder mystery and
guessing game rolled into one, and
if only for the interrogation scenes,
it presents a bit of heady fun. Here
the men are distraughtly fending
off suspicion against themselves.
From the outset, the forest ranger
and farmer are already under
suspicion. Both clad in prison
wear, they are handcuffed and
treated gruffly by the investigator.
The forest ranger seems
aggressive, prone to shouting and
gesticulating. The farmer, while
more subdued, seems duplicitous
and is involved in petty crime.
Meanwhile, the boyfriend—in
normal clothes and able to move
his hands freely—appears the
more stable character between the

47
two, albeit a bit worse for wear. In
some ways, these characterizations
attempt to play with the audience’s
own prejudices. Granted they are
all men, and given the nature of
the crime, are subject to immediate
suspicion. But class, age, and
occupation come into play, and the
film pushes the audience to point
an accusing finger at the two older
men.
The problem is, today’s movie
audiences can often sniff out
surprise twists in films, and in
Death of a Girlfriend, the twist is
apparent from the outset. It doesn’t
help that the boyfriend is the least
suspicious initially. Nevertheless,
there is potential entertainment
to be derived in determining what
motivations lay behind the crime.
What convoluted series of events
and misunderstandings led to this?
What secrets will be uncovered?
The truth, however, turns out to be
pretty straightforward. The forest
48
guard was honest about almost
everything, his only crime being
his extreme prejudice towards the
farmer. Meanwhile the farmer, in
desperation, has made up a few
details to pin the incident on the
ranger, who has long harassed him
for gathering wood in the forest.
And between the two warring men,
the boyfriend had outright lied
about being a boyfriend, among
other things. There is not so much
a series of misunderstandings
as different self-serving versions
of events either peppered with
lies or of people acting on their
unchecked biases. And yes, of
course, it was the faux boyfriend
who did it.
Testimonies are accompanied by
flashbacks in the forest, but it is the
boyfriend’s recollections that are
most extensive. His version serves
as the anchor, not only for events
related to the incident, but to who
Christine was. In his version, she
49
initiates every development in
their budding relationship. This
includes the first time they walked
along the forest path, their first
kiss, the intimacies they shared.
The tired trope of woman as both
innocent and seductress is evoked.
And here lies the larger issue with
Death of a Girlfriend. At its big
(yet unsurprising) reveal, the film
features a brutal rape and murder.
This scene recalls local TV crime
re-enactments, except the violence
is more gratuitous and sickening.
And it begs asking, what is the
purpose of showing this depravity?
For whose pleasure or benefit is
it to show this cruelty towards
Christine— the same character
who was extensively sexualized
by her rapist-murderer through
earlier flashbacks, and who we
know only through the stories of
three other men but never from
herself?
There is a problem with these
kinds of stories, where women
are mere plot devices, subjected
to inhumane suffering and never
agential, never herself. The woman
is sacrificed for a message, a
50
point which can be infuriatingly
ambiguous and/or unnecessary.
What is it exactly in Death of a
Girlfriend? Something that revolves
around a distorted type of love,
perhaps, or maybe about men’s
anger, the dangers they present,
and the lies they weave about
the women they simultaneously
vilify and worship. The point
doesn’t seem commensurate to
the brutality (it almost never is).
But if events in our country are
any indication, one can argue that
Death of a Girlfriend remains an
accurate indicator of our social and
cultural climate. The movie seems
to mirror and channel not only the
continuing presence of gendered
violence, but also, the erasures and
marginalization of women’s views
and perspectives. Disappointingly,
it elicits these conditions not to
critique or to question, but as given
conditions that can be utilized as
vehicle to tell a story.
At present, the onus continues
to be largely on women and
their allies to imagine better
types of cinematic narratives for
themselves.
PANDEMIC ANXIETIES
Tito R. Quiling, Jr.

RABID
Shortlisted Film for 2021

51
T
he COVID-19 pandemic forced the world to stay inside their homes,
spending time in isolation facilities, enduring frequent lockdowns,
and quarantine periods. Given the restricted movement and lack
of adequate spaces, people became restless—experiencing intra and
interpersonal conflicts, confusion, anxieties, and depressive episodes,
while others easily adapted to the work-from-home arrangement
by cultivating more life skills, taking on hobbies, and maintaining
relationships virtually.

Rabid (2021) is Erik Matti’s lockdown, and brings her into

four-episode anthology film,
delivering stylized horror and
black comedy which renders
distressing experiences by
different inhabitants at the height
of the pandemic. Written by
Michiko Yamamoto with Mary
Rose Colindres (for “Kami Lang
Ba Pwedeng Malasin”) and Leovic
Arceta (for “Shit Happens”),
some stories tread on familiar
domestic, administrative, and
economic problems that serve as
partial social commentaries. With
each episode running between
17 to 35 minutes, the narratives
are effortlessly consumable
and bookended by two strong
narratives.
The first story, “Kami Lang Ba
Pwedeng Malasin” (“Bad Luck
is a Bitch”), is the longest one,
and packaged as a classic home
invasion story, where an upper
middle-class family of three falls
under the spell of a seemingly
harmless deaf-mute beggar.
Mayette (Chesca Diaz) encounters
Lola (Jay Glorioso), an old woman
displaced by the COVID-19
their home, much to her daughter’s
dislike. Liz (Ameera Johara) is
immediately wary about the
woman’s presence—a stranger who
may have the disease—a common
fear during the early weeks of the
pandemic. When Mayette hires
Lola as their house help, the initial
days were uneventful, and her
husband Carlo (Jake Macapagal)
is neutral about her inclusion at
first. But Liz’s suspicions were
confirmed one night upon seeing
Lola dancing nude and chanting
loudly in front of the fireplace
among a sea of lit candles in
their living room. Despite Carlo
immediately evicting her, the
next days unraveled the mystery
surrounding the old woman—a
mangkukulam (witch) taking over
their home. With one click of her
tongue, she forces the couple into
doing heinous actions, from eating
their house dog, to quarreling
because of cheating allegations,
buying expensive items, and
banging their heads on the wall
when they attempt to resist her
control. Fearing for their lives, Liz
calls her boyfriend Dexter (Kent

52
Gonzales), a faith-healer’s nephew
who convinces a terrified Liz to
wear the belt to shield her from
Lola’s black magic. One night, Liz
manages to sneak out of the house
as Mayette distracts Lola with
online shopping. However, Dexter
visits their home at the same time,
and confronts the witch in the
living room.
The cinematography by Neil
Derrick Bion expresses the power
struggle and class dynamics
between the wealthy dwellers and
the outsider, where the family is
largely presented in low angles
to denote their higher status, and
the old woman in high angles
given her lowly standing. But
these angles start to become more
balanced throughout the episode
during the home invasion, where
the witch takes over their safe
space and the inhabitants are
desperate to eject her, before
53
returning to the standard angles.
Towards the end, as Dexter and
Lola exchange enchantments
and curses, Liz arrives with the
barangay tanods who are easily
beaten by the witch. The distressed
teen is reminded by Dexter to
utter the words “susme” to defend
herself from Lola’s spell. Repeating
this chant, Liz finally eliminates
the old woman and frees her
family. But following the ongoing
lockdowns in their city and their
previous experience, the next
visitors who knock on their home
are now entertained by Liz.
The second chapter, “Iba Pa
Din Ang Karne” (“Nothing Beats
Meat”) is the shortest one. Set in
a dystopian society and focuses
on a couple living in a cave
bunker, Melvin (Vance Larena)
takes care of his incapacitated
wife, Jane (Pam Gonzales), who
is tied to several objects in the
cave—a zombie confined among
disco balls, camping gear, and
laboratory tables. In pacifying
her, he provides a diet of fruit and
vegetables as advised by a friend.
In the passing days, Melvin shows
photos of their late daughter and
short videos of fireworks on the
cave’s walls to an unresponsive
Jane, who grunts regularly. The
scene alludes to Plato’s allegory of
the cave, where the shadows create
projections of perceived reality for
those restricted to the space. Yet,
the actual reality speaks otherwise,
as the images around the cave are
not accurate representations of
life, at times lacking proper logic or
reasoning.
Production designer Shiel Calde
constructed the confined space
with a range of discarded objects,
proficiently illustrating the
disordered world they live in.
While the items aim to help them
54
survive, the hollowness of their
relationship due to one-sided
engagement is evident. Melvin’s
feeding regimen plans to weaken
Jane for them to leave the cave,
but this treatment is not working.
A tender moment shows Melvin
fixing Jane’s wedding dress, which
he puts on her before slow dancing
together. At this point, Melvin gives
in and offers his wrist for Jane
to draw blood. The closing scene
shows the now-zombie couple
stumbling out of the cave, into a
trash-filled canal and out into the
sun.
The third episode, “Shit Happens”
offers a dark comedic take on
the enduring problems with
the country’s healthcare system
and the overflowing demands
of working in a government
hospital. Nurse Becky (Ayeesha
Cervantes) is nonchalant about
her job, where her inattentiveness
with not cleaning up the rooms
or noting the doctors’ schedules
pushes an argument with fellow
nurse Reggie (Ricci Rivero). On a
dreary night, an unhinged patient
named Luzviminda Santos (Ube
Lola) is left in the hallway near the
nurses’ station and Becky wheels
her into Room 207. She props
her back onto the bed carelessly.
An eerie look from the patient
unnerves her, and Becky becomes
aggressive in checking the patient’s
statistics. Upon leaving the room,
she discovers that it is now
morning. In reality, it is still night
time and her boyfriend Walter
(Brace Arquiza) is waiting in the
lobby. Becky’s warped reality has
empty hallways, locked doors, and
patients looking at her furiously
from their respective rooms. With
Room 207 always buzzing for
Becky, Luzviminda chases her from
the room to the toilets where she
leaves feces on the bed, pushes the
diaper onto her face, and vomits
on the nurse.
55
The music arranged by Mikey
Amistoso, paired with the sound
design by Lamberto Casas, Jr. and
his team, firmly injects anxiety,
with a consistent staccato following
the characters who engage in
chilling rounds of hide-and-seek in
the ghostly hospital halls. As Becky
tries to escape, Reggie and Walter
look for her, where they all meet in
the off-limits basement ward, but
cannot see each other. An irregular
call from Becky leads the boys to
check the CCTV footage, where they
see her alone, but being violently
pulled into Room 207. Inside, they
see her strapped on the bed, in
a daze, and buzzing for a nurse.
Now confined in the same room,
Reggie checks on Becky’s progress
and says that her visa has been
granted. But the girl is disturbed
with a figure in the corner of the
room, as Reggie keeps comforting
her to recover. The film ends with
Luzviminda wildly attacking Becky
once more with a diaper full of
feces, laughing maniacally as the
nurse keeps calling for help using
the same buzzer.
The fourth narrative, “HM” (“How
Much?” or “Home Made”) closes
the anthology film and reflects
the rise of online shops during
the lockdown period. Given the
restrictions, many Filipinos sold
items and offered services on
social media. A single parent,
Princess (Donna Cariaga) was
retrenched from ABS-CBN’s
Marketing department when the
franchise was not renewed in
2020. With their funds depleted,
Princess looks through many
online ads and job applications to
provide for her son, Nico (Alfonso
Yñigo Delen). Stirred by the
features on Chef Tatung and Chef
Amy (Candice Ramos), she tries
selling kare-kare—her special dish
despite being a terrible cook. Her
taste-testers include her mother
and their neighbor Sam (Chrome
Cosio), who both discourage her.
Even with persistent promotion
56
and discounts, she has no orders
and was even banned from the
online selling group.
Mica Roca’s seamless editing and
the visual effects rendered by the
team from Mothership tersely
weaves the frequency of online
advertisements, the overwhelming
virtual engagement, and barrage
of information at the onset of the
pandemic. But instead of the visual
effects distracting from the story,
the graphics move the narrative
forward, as the sequences
are framed by social media
engagement. One night, Princess
discovers a Russian recipe on
the Internet that makes any food
appetizing but with unintended
side effects, and uses the potion
in her kare-kare. Testing it on her
son, mother, and neighbors, the
unusual positive responses enable
her to sell her dish online, which
immediately boom. Orders and
deliveries come in fast, their funds
soar, and is even interviewed by
Chef Amy. However, she notices
that Nico is always looking for her
food and does not eat anything
else.
Her patrons continue to order
from her and Princess is exhausted
with cooking all day and night.
When Nico storms in and demands
for her kare-kare which is still
being prepared, she gives him the
potion which he drinks savagely.
Upon finishing, Nico sees that
her sleeping mother has peanut
sauce on her fingers and eats it
off her. But their neighbor Sam
breaks into their house, looking
for her dish and turns violent as
he consumes the containers filled
with kare-kare. In her defense,
Princess stabs him. Caught by
surprise, Princess lures Nico into
their bedroom as she fixes their
clothes to leave. At this point, their
house is surrounded by deranged
57
customers banging on her walls,
windows, and doors. Terrified,
Princess gets her son but the
crowd forces their way in and
attacks her. Like vultures eating a
carcass, the mother gets devoured.
On the kitchen table, her laptop
screen shows several notifications
coming in and emails confirming
her interviews and successful
applications.
Among the episodes in Rabid,
the first and fourth ones are the
strongest—mixing the reality of
being restricted to one’s home,
finding ways to survive, referring
to local magical beliefs that
escapes one’s logic, and absurdist
situations that augment layers
of entertainment and intrigue.
In both stories, the house as a
place of refuge, mainly during the
quarantine period, turns into a
dangerous space for its inhabitants
with outsiders invading their
homes. Their routines inside
their houses are upended and
their security is compromised.
For the wealthy family, willful
assistance was a risk that did not
pay off. For the single parent,
the tendency to cut corners for
survival, led them to their demise.
Likewise, the changing dynamics
between the self and one’s family
members under a stressful
atmosphere create more strain, as
the boundaries between work and
home lives are blurred with the
forced norms.
The second chapter serves as
fodder in completing the film
anthology, but it is worth noting
that the air of abandonment,
confusion, and chaos in the
episode refers to the early months
of the contagion. The couple
in the story is left to fend for
themselves using available items
and tried to use entertainment as a
distraction from the chaos caused
by the pandemic—conjuring
reminders of people’s various
coping strategies. In addition, the
58
judicious topic on caregiving under
difficult circumstances effectively
links with the third episode’s
emphasis on the lack of funding for
healthcare workers who faced an
absurd amount of work and risk,
with no proper compensation from
concerned government agencies.
The incessant use of fecal matter
as a form of attack also symbolizes
how healthcare workers have been
treated in the last two years. While
the physical mark on surfaces
and individuals may be rinsed
off, the unyielding stench from
covering up the ungainly response
to the COVID-19 pandemic in the
Philippines remains.
The anxieties that citizens carry
due to daily engagements was
aggravated by the pandemic,
and in Matti’s Rabid, collective
experiences relating to inadequate
information on the global disease,
the uncertainty of one’s health and
economic conditions, and the fear
of engaging with others because
of the lockdowns, remind viewers
that people can turn rabid in the
face of danger and survival.
Filmografia
Philippine
Cinema

2021

59
 JANUARY
Princess Dayareese
Barry Gonzalez
Star Cinema
Romance, Comedy
115 mins.
1 January 2021

Run
Mel Magno
Mel Magno Films
Drama
130 mins.
23 January 2021

Steal
Bona Fajardo
Viva Films, BluArt Productions
Comedy
98 mins.
22 January 2021

Paglaki Ko Gusto Kong Maging

Porstar
Darryl Yap
Viva Films
Comedy
92 mins.
29 January 2021

Anak ng Macho Dancer

Joel Lamangan
Godfather Productions, MP,
Blackwater
Drama
88 mins.
30 January 2021

60
FEBRUARY Love or Money
Mae Czarina Cruz
Sana All ABS-CBN Film Productions, Star
Bona Fajardo Cinema
BluArt Productions, Viva Films Comedy, Drama, Romance
Romance 116 mins.
106 mins. 12 March 2021
5 February 2021
Biyernes Santo
Memories of Forgetting Pedring Lopez
Joselito Altarejos BlackOps Studios Asia, Psyops8,
2076Kolektib, ABS-CBN Film Viva Films
Productions, Hey Pogi Horror
Drama 90 mins.
57 mins. 24 March 2021
6 February 2021
Dito at Doon
Hello Stranger: The Movie Jaime Habac Jr.
Dwein Baltazar TBA Studios, WASD Films
Black Sheep Romance
Comedy, Romance 98 mins.
91 mins. 31 March 2021
12 February 2021

APRIL
MARCH
Lamentasyon
Ayuda Babes Chino Pereira
Joven Tan Upnext Studio, People on the Go
Saranggola Media Productions Horror
Comedy 114 mins.
91 mins. 8 April 2021
5 March 2021
General Admission
Tililing Jeffrey Hidalgo
Darryl Yap Oxxipital, Production Village
Viva Films, VinCentiments Studios, Provill
Comedy Crime, Drama
87 mins. 85 mins.
5 March 2021 9 April 2021

61
Death of a Girlfriend Don Filipo
Yam Laranas Tim Muñoz
Viva Films Pink Elephant Productions
Mystery, Romance, Thriller. 93 mins.
113 mins. 22 May 2021
30 April 2021
Kaka
Deeply in Love GB Sampedro
Lemuel W. Fangonon Five 2 Seven Entertainment
Balangao Films Productions, Viva Films
Romance Comedy
91 mins. 115 mins.
30 April 2021 28 May 2021

The Herald and the Horror Momshies! Ang Soul Mo’y Akin!
Jayvee Kang Margaja Easy Ferrer
LightShow Studio ABS-CBN Film Productions
Horror Comedy
90 mins. 108 mins.
30 April 2021 28 May 2021

MAY JUNE
Mommy Issues Ang Babaeng Walang Pakiramdam
Jose Javier Reyes Darryl Yap
Regal Multimedia, LargaVista Viva Films, VinCentiments
Entertainment Comedy
Comedy 83 mins.
90 mins. 11 June 2021
7 May 2021
A Girl + A Guy
Versus Erik Matti
Ralston Jover Globe Studios, Reality MM
ADCC Film Production Pictures, Regal Films
Drama Comedy, Romance
99 mins. 126 mins.
20 May 2021 24 June 2021

62
JULY Tenement 66
Rae Red
Gluta Dreamscape Entertainment,
Darryl Yap Epic Media
Viva Films, VinCentiments Thriller
Comedy, Drama 84 mins.
86 mins. 23 July 2021
2 July 2021
Gameboys: The Movie
Silab Ivan Andrew Payawal
Joel Lamangan The IdeaFirst Company,
3:16 Media Network Octobertrain Films
Drama Romance
110 mins. 107 mins.
9 July 2021 30 July 2021

My Amanda Nerisa
Alessandra de Rossi Lawrence Fajardo
Spring Films Viva Films
Drama, Romance Drama
89 mins. 106 mins.
15 July 2021 30 July 2021

The Other Wife

Prime Cruz AUGUST
Viva Films
Drama Revirginized
91 mins. Darryl Yap
16 July 2021 Viva Films
Comedy
Lockdown 97 mins.
Joel Lamangan 6 August 2021
For the Love of Art Films
Drama Ikaw at Ako at ang Ending
96 mins. Irene Emma Villamor
23 July 2021 Viva Films
Romance
89 mins.
13 August 2021

63
Nang Dumating si Joey ECQ Diary (Bawal Lumabas)
Arlyn dela Cruz Arlyn Dela Cruz Bernal
Blank Pages Productions Blank Pages Productions
Drama Comedy, Drama
116 mins. 95 mins.
13 August 2021
Love and Pain in Between Refrains
A Faraway Land Joselito Altarejos
Veronica Velasco 2076 Kolektib, 2525 Productions
Mavx Productions, Embassy of the Drama
Philippines in Denmark, Embassy 88 mins.
of Denmark in the Philippines,
Legwork Productions Tao Po
Drama Mae Paner
101 mins. Documentary
19 August 2021 70 mins.

Sin
Mel Magno SEPTEMBER
Mel Magno Film Company
Drama, Romance 69 + 1
143 mins. Darryl Yap
21 August 2021 Viva Films, VinCentiments
Comedy
Taya 87 mins.
Roman Perez Jr. 3 September 2021
Viva Films
Crime, Drama, Thriller The Housemaid
103 mins. Roman Perez Jr.
27 August 2021 Viva Films
Thriller
114 mins.
Cinemalaya Philippine 10 September 2021
Independent Film Festival
6 August – 5 September 2021 On the Job 2: The Missing 8
Erik Matti
Last Days at Sea ABS-CBN Film Productions, Reality
Venice Atienza Entertainment, Star Cinema, XYZ
Svemirko Productions Films
Documentary Thriller
72 mins. 208 mins.
12 September 2021
64
Bekis on the Run The Fabulous Filipino Brothers
Joel Lamangan Dante Basco
Viva Films Cignal Entertainment, The Machine,
Comedy Masque Valley Productions, JCB
92 mins. Entertainment Productions
17 September 2021 Comedy, Family
99 mins.
Paraluman 18 October 2021
Yam Laranas
Viva Films, Mesh Lab House Tour
Drama Roman Perez Jr.
91 mins. Viva Films
24 September 2021 Drama
95 mins.
22 October 2021
OCTOBER
Izla
Ang Manananggal na Barry Gonzalez
Nahahati ang Puso OctoArts Films, Mavx Productions,
Darryl Yap ALV Films
Viva Films, VinCentiments Comedy, Horror
Comedy 85 mins.
98 mins. 22 October 2021
1 October 2021
Will You Marry
Shoot Shoot! Di Ko Siya Titigilan! Veronica Velasco
Al Tantay Mavx Productions, Embassy of the
Viva Films Philippines in Denmark, Embassy
Comedy of Denmark in the Philippines,
99 mins. Legwork Productions
1 October 2021 Drama
87 mins.
Sarap Mong Patayin 22 October 2021
Darryl Yap
Viva Films, VinCentiments Takas: Death Wish
Comedy Jose Balagtas
73 mins. White Eagle Films
15 October 2021 Action
25 mins.
24 October 2021

65
Sa Haba ng Gabi Mang Jose
Miko Livelo Raynier Brizuela
Viva Films, Reality MM Studios Viva Films, Project 8 Projects
Comedy Action, Comedy
81 mins. 90 mins.
29 October 2021 17 November 2021

More Than Blue

NOVEMBER Nuel C. Naval
Viva Films, MM2 Entertainment
Barumbadings Drama
Darryl Yap 113 mins.
Viva Films, VinCentiments 19 November 2021
Action, Comedy
75 mins. He’s Into Her: The Movie Cut
5 November 2021 Chad Vidanes
ABS-CBN Entertainment, iWant
Ikaw TFC, Star Cinema
Marla Ancheta Comedy, Romance
Mavx Productions 199 mins.
Comedy, Drama, Romance 22 November 2021
109 mins.
12 November 2021 My Husband, My Lover
Mac Alejandre
Mahjong Nights Viva Films
Lawrence Fajardo Drama
Viva Films 109 mins.
Drama 26 November 2021
111 mins.
12 November 2021 QCinema International Film Festival
26 November – 5 December 2021
Rabid
Erik Matti A Will to Dream
Reality MM Entertainment, Regal Patrick Alcedo
Entertainment Documentary
Horror 95 mins.
104 mins.
12 November 2021 Historya ni Ha
Lav Diaz
Sine Olivia Pilipinas
Drama
250 mins.
66
DECEMBER Love is Color Blind
John Leo Garcia
Pornstar 2: Pangalawang Putok Star Cinema, Smart
Darryl Yap Communications, Cignal TV
Viva Films, VinCentiments Comedy, Romance
Comedy 115 mins.
95 mins. 10 December 2021
3 December 2021
Caught in the Act
Arisaka Perry Escaño
Mikhail Red MPJ Entertainment Productions
Ten17P Drama
Action, Thriller 100 mins.
96 mins. 15 December 2021
9 December 2021
Gensan Punch
Dulo Brillante Mendoza
Fifth Solomon Center Stage Productions, Gentle
Viva Films Underground Monkeys
104 mins. Drama
10 December 2021 110 mins.
16 December 2021
Ero
Miko Livelo, Joel Ferrer Crush Kong Curly
Globe Studios, Storey House GB Sampedro
Productions Viva Films, Five 2 Seven
Comedy Entertainment Production
75 mins. Comedy, Romance
10 December 2021 101 mins.
17 December 2021
Palitan
Brillante Mendoza Happy Times
Viva Films, Center Stage Ice Idanan
Productions Reality MM Studios
Drama Comedy
107 mins. 90 mins.
10 December 2021 17 December 2021

67
Deception Kun Maupay Man It Panahon
Joel Lamangan (When the Weather is Fine)
Viva Films, Borracho Carlo Francisco Manatad
Drama Cinematografica, planc, House on
97 mins. Fire, Dreamscape Entertainment,
22 December 2021 iWant TFC, Globe Studios, Black
Sheep, Quantum Films, Aand
Eva Company, KawanKawan Media,
Jeffrey Hidalgo Weydemann Bros., CMB Films
Viva Films, Great Media Drama
Productions 104 mins.
Drama, Romance
95 mins. Love at First Stream
24 December 2021 Cathy Garcia-Molina
ABS-CBN Film Productions, Inc.,
Metro Manila Film Festival Kuwento Labs, Inc.
25 December 2021 – 7 January 2022 Romance, Comedy, Drama
112 mins.
A Hard Day
Law Fajardo Nelia
Viva Entertainment Lester Dimaranan
Action, Drama A and Q Production Films, Inc.
111 mins. Suspense, Thriller
104 mins.
Big Night
Jun Robles Lana The Exorsis
Cignal Entertainment, The Fifth Solomon
IdeaFirst Company, Octobertrain TinCan Productions, Viva
Films, Quantum Films Entertainment
Black Comedy Comedy, Horror
97 mins. 114 mins.

Huling Ulan sa Tag-araw Sanggano, Sanggago’t Sanggwapo 2:

Luisito Lagdameo Ignacio Aussie! Aussie (O Sige)
Heaven’s Best Entertainment Al Tantay
Romance, Drama Viva Films
114 mins. Comedy
97 mins.
Huwag Kang Lalabas 31 December 2021
Adolfo Alix Jr.
Obra Cinema, CINEKO Productions
Horror Trilogy
68

The Criteria
BEST PICTURE: refers to vision and
direction that pay sensitive and
keen attention to both the language
of cinema (“presentation”) and
social reality (“representation”),
in the process refunctioning the
possibilities of film as progressive
art and popular culture. The Best
Picture citation is awarded to the
Director not so much because
he or she is the auteur or the
central intelligence of the film, but
because his or her work lies at the
conjuncture which coordinates
filmmaking.
BEST SCREENPLAY: refers to the
rhetoric of writing for film that
articulates the complexity of social
life and personal perturbation
through narrative logic or political
conviction; or simply through
well-thought out dramatic tension
that explores contestation between
the personal and the political, the
individual and the collective, the
private and the public. The Best
Screenplay award is given to the
writer of the film.
BEST ACHIEVEMENT IN EDITING:
refers to the configuration of
relationships of time and space
among scenes in a film that is
able to synthesize, engage in
collision, reconcile, or transgress
connections through the complex
69
interplay of mise-en-scene and
montage. The Best Editing trophy is
given to the editor.
BEST ACHIEVEMENT IN
CINEMATOGRAPHY AND VISUAL
DESIGN: refers to the mise-
en-scene and its visual/plastic
qualities production design,
lighting, art direction, visual
effects that lend form to whatever
representation is projected on
screen. The Best Cinematography
and Visual Design honor is
conferred on the cinematographer
and the production designer.
BEST ACHIEVEMENT IN SOUND
AND AURAL ORCHESTRATION:
refers to the rendering of the
auditory aspects of film music,
natural sound, sound effects as
these are counterposed against or
harmonized with the language of
image, and so become meaningful
sign systems on their own. The Best
Sound citation is awarded to the
sound engineer and the musical
scorer.
BEST PERFORMANCE: refers to
acting, to the playing out of a
role or character that implicates
emotion, feeling, and experience
in the social conditions of the
personal and in the political
economies of habit and gesture and
how these forge the body politic.
The Best Performance citation is
handed to the Performer, whether
male or female, adult or child,
in major or supporting role,
individual or ensemble.
BEST FIRST FEATURE: refers
to outstanding narrative or
documentary film that is the first
feature-length work of a director.
The Best First Feature citation is
conferred to the director of the
selected first feature.
Mga Batayan
PINAKAMAHUSAY NA PELIKULA:
tumutukoy sa pagdidirihe at
bisyon na nagbibigay ng sensitibo
at matalas na atensiyon kapwa
sa lengguwahe ng pelikula
(presentasyon) at panlipunang
realidad (representasyon), sa
proseso inaayos at pinakikilos
ang modo ng pagpapahayag ng
pelikula sa realidad sa konteksto
ng kakayahan nitong makipag-
usap sa malawak na manonood at
pukawin ang buhay ng publiko; sa
gayon, naaangkin ito para isulong
ang kapangyarihan ng midyum at
ang sulong na interes. Ang gawad
ay ibinibigay sa Direktor hindi
dahil sa siya ang auteur o ang
sentral na diwa ng pelikula, kundi
dahil ang obra niya ay nakalugar
sa hugpungang nagbibigay
koordinasyon sa paglikha ng
pelikula.
70
PINAKAMAHUSAY NA DULANG
PAMPELIKULA: tumutukoy sa
retorika ng pagsusulat para
sa pelikula na nagpapahayag
ng kasalimuotan ng buhay
panlipunan at personal na ligalig
sa natatanging estruktura ng
naratibo o politikal na paniniwala;
o sa pamamagitan ng pinag-
isipang dramatikong tensiyon
na sumisiyasat sa tunggalian
ng personal at politikal, ng
indibidwal at ng kolektibo, ng
pribado at ng publiko. Iginagawad
ang Pinakamahusay na Dulang
Pampelikula sa lahat ng manunulat
ng pelikula.
PINAKAMAHUSAY NA EDITING:
tumutukoy sa kompigurasyon
ng mga ugnayan ng panahon at
espasyo sa mga eksena sa isang
pelikulang may kakayahang
maglagom, makitunggali, bumuo
at bumaklas ng mga pagkakaugnay
sa pamamagitan ng masalimuot
na paggamit ng mise-en-scene
at montage. Ang tropeo para sa
Pinakamahusay na Editing ay
pinagkakaloob sa mga editor.
PINAKAMAHUSAY NA
SINEMATOGRAPIYA AT DISENYONG
BISWAL: tumutukoy sa mise-
en-scene at sa mga kalidad
nitong biswal/plastik disenyong
pamproduksiyon, pag-iilaw,
direksiyon ng sining, visual
effects na nagbibigay-anyo
sa anumang representasyon
na inilalantad sa telon; at
ikinikintal ang pagsasaanyo ng
mga puwersang panlipunan
at mga kultura sa mga sandali
ng kontradiksiyon, pagsasanib,
enkwentro, pagtatagpo,
pakikipagtunggali o pagkakaugnay
sa bawat isa. Ipinagkakaloob
ang Pinakamahusay na
Sinematograpiya at Disenyong
Biswal sa sinematograper at sa
taga-disenyo ng produksiyon.
PINAKAMAHUSAY NA TUNOG
AT ORKESTRASYONG AWRAL:
tumutukoy sa paglalapat ng mga
aspektong may kinalaman sa
tunog sa pelikula musika, likas
na tunog, sound effects habang
ang mga ito ay isinasalungat
sa o inaayon sa lengguwahe ng
mga imahen, at kung gayon ay
nagiging makahulugang sistema ng
pananagisag mismo. Iginagawad
ang Pinakamahusay na tunog sa
sound engineer at sa tagapaglapat
ng musika.
71
PINAKAMAHUSAY NA PAGGANAP:
tumutukoy sa pagganap ng
isang papel o karakter na
nagsasangkot ng emosyon,
damdamin, at karanasan sa
mga panlipunang kondisyon
ng personal at sa politikal na
ekonomiya ng kaugalian at kilos,
at kung paano nakatutulong
ang mga ito sa pagsasakatauhan
ng sarili. Ipinagkakaloob ang
Pinakamahusay na Pagganap
sa Gumanap, lalaki o babae,
matanda o bata, sa isang
pangunahin o pangsuportang
papel, sa indibidwal o kolektibong
pagganap.
PINAKAMAHUSAY NA LUNSARANG
PELIKULA: tumutukoy sa
mahusay na pelikulang salaysay
o dokumentaryo na unang
pelikulang may ganap na haba ng
isang direktor. Ang gawad para
sa Pinakamahusay na Lunsarang
Pelikula ay ibinibigay sa direktor
ng napiling unang pelikula.
 32 nd
An n ual
C irc l e
Citations
for
Distinguished
Achievement
in Film for

2021
 Announced on September 3, 2022
Conferred on December 15, 2022 at the Jorge B. Vargas Museum,
University of the Philipppines, Diliman, Quezon City

BEST FILM
Winner:
Historya ni Ha, directed by Lav Diaz

Nominee:
On the Job 2: The Missing 8, directed by Erik Matti

BEST SCREENPLAY
Winner:
Historya ni Ha (Lav Diaz)

Nominees:
On the Job 2: The Missing 8 (Erik Matti, Michiko Yamamoto)
Tao Po (Maynard Manansala)

BEST ACHIEVEMENT IN CINEMATOGRAPHY AND VISUAL DESIGN

Winner:
Gensan Punch (cinematography: Joshua Reyles; production design:
Brillante Mendoza

Nominees:
Historya ni Ha (cinematography and production design: Lav Diaz)
Last Days at Sea (cinematography: Venice Atienza, Moshe Ladanga)
On the Job 2: The Missing 8 (cinematography: Neil Derrick Bion;
production design: Roma Regala)

BEST ACHIEVEMENT IN EDITING

Winner:
On the Job 2: The Missing 8 (Jay Halili)

Nominees:
Gensan Punch (Ysabel Denoga, Armando Lao, Peter Arian Vito)
Last Days at Sea (Anna Silva, Katrin Maria Escay)

74
BEST ACHIEVEMENT IN SOUND AND AURAL ORCHESTRATION
Winner:
On the Job 2: The Missing 8 (music: Malek Lopez, Arvin Nogueras, Erwin
Romulo; sound design: Corrine de San Jose)

Nominee:
Gensan Punch (music: Diwa de Leon; sound design: Albert Michael
Idioma, Alex Tomboc, Deo Van Fidelson)

BEST PERFORMANCE
Winner:
John Lloyd Cruz, Historya ni Ha

Nominees:
John Arcilla, On the Job 2: The Missing 8
Dennis Trillo, On the Job 2: The Missing 8
John Arcilla, Dennis Trillo, Lotlot de Leon, Dante Rivero, and Dolly de
Leon (ensemble), On the Job 2: The Missing 8
Ronnie Lazaro and Shogen (duo), Gensan Punch
Mae Paner, Tao Po

BEST FIRST FEATURE

No winner

Nominees:
Tao Po, directed by Mae Paner
Kun Maupay Man It Panahon, directed by Carlo Francisco Manatad
Last Days at Sea, directed by Venice Atienza

75
PAST CITATIONS
1ST CIRCLE CITATIONS, 1990 Shake, Rattle and Roll III (C: Joe Tutanes;
PD: Don Escudero)
GOLD PRIZE
Sa Kabila ng Lahat (C: Ding Austria; PD:
Andrea, Paano Ba ang Maging Isang Ina
Benjie De Guzman)
(Gil Portes)
Pangako ng Puso (C: Ricardo Jacinto; PD:
Tatus Aldana)
SILVER PRIZE
Sa Kabila ng Lahat (C: Ricardo Jacinto; PD:
Bakit Kay Tagal ng Sandali (Chito Roño)
Tatus Aldana)
Kasalanan Bang Sambahin Ka (Chito Roño)
Joey Boy Munti (C: Ely Cruz; PD: Pres Ruiz)
Bakit Ikaw Pa Rin (Emmanuel Borlaza)
Dinampot Ka Lang sa Putik (C: Charlie
Hahamakin Lahat (Lino Brocka)
Peralta; PD: Ronaldo Cadapan)

INDIVIDUAL ACHIEVEMENT PRIZE

BEST EDITING
Nora Aunor (actress, Andrea, Paano Ba
Kailan Ka Magiging Akin (Ike Jarlego, Jr.)
ang Maging Isang Ina)
Sa Kabila ng Lahat (George Jarlego)
Ricardo Lee (screenwriter, Andrea,
Hihintayin Kita sa Langit (Jess Navarro)
Paano Ba ang Maging Isang Ina and
Shake, Rattle and Roll III (Danny Gloria)
Hahamakin Lahat)
Dinampot Ka Lang sa Putik (George Javier)
Jun Pereira (cinematographer, Bakit Kay
Tagal ng Sandali)
BEST SOUND AND AURAL ORCHESTRATION
George Jarlego (editor, Gumapang Ka sa
Hihintayin Kita sa Langit (M: Ryan
Lusak)
Cayabyab; S: Gaudencio Barredo)
Augusto Salvador (director, Angel Molave)
Shake, Rattle and Roll III (M: Toto Gentica;
S: Joe Climaco)

2ND CIRCLE CITATIONS, 1991 Sa Kabila ng Lahat (M: Jaime Fabregas; S:

Willy Islao)
BEST PICTURE
Sa Kabila ng Lahat (Lino Brocka)
BEST PERFORMANCE
Class of ‘91 (Gil Portes)
Nora Aunor (Ang Totoong Buhay ni Pacita M.)
Ipagpatawad Mo (Laurice Guillen)
Aga Muhlach (Joey Boy Munti)
Ang Totoong Buhay ni Pacita M (Elwood
Maricel Soriano (Dinampot Ka Lang sa
Perez)
Putik)
Joey Boy Munti (Maryo J. de los Reyes)
Vilma Santos (Ipagpatawad Mo)
Dinampot Ka Lang sa Putik (Maryo J. de
Gina Alajar (Kailan Ka Magiging Akin)
los Reyes)

BEST SCREENPLAY 3RD CIRCLE CITATIONS, 1992

Sa Kabila ng Lahat (Roy Iglesias)
Dinampot Ka Lang sa Putik (Jose Javier
Reyes and Jake Tordesillas)
Ang Totoong Buhay ni Pacita M. (Ricardo Lee)
Class of ‘91 (Ricardo Lee)
Ipagpatawad Mo (Olivia Lamasan)
BEST PICTURE
Ikaw Pa Lang ang Minahal (Carlos
Siguion-Reyna)
Iisa Pa Lamang (Jose Javier Reyes)
Tayong Dalawa (Laurice Guillen)
Lumayo Ka Man sa Akin (Laurice Guillen)

BEST CINEMATOGRAPHY BEST SCREENPLAY

AND VISUAL DESIGN Ikaw Pa Lang ang Minahal (Raquel
Kailan Ka Magiging Akin (C: Jun Pereira; Villavicencio)
PD: Charlie Arceo) Iisa Pa Lamang (Jose Javier Reyes)
Hihintayin Kita sa Langit (C: Romeo Vitug; Tayong Dalawa (Jose Dalisay, Jr.)
PD: Joey Luna)

76
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Tag-Araw, Tag-Ulan (C: Loreto Isleta; PD:
Raymond Bajarias)
Ikaw Pa Lang ang Minahal (C: Romeo
Vitug; PD: Raymond Bajarias)
Hiram na Mukha (C: Charlie Peralta; PD:
Benjie De Guzman)
Lumayo Ka Man sa Akin (C: Eduardo
Jacinto; PD: Guillermo Sancha)
Ikaw ang Lahat sa Akin (C: Romeo Vitug;
PD: Tatus Aldana)
BEST EDITING
Ikaw Pa Lang ang Minahal (Jess Navarro)
Tayong Dalawa (Efren Jarlego)
Narito ang Puso Ko (Jess Navarro)
Aswang (Danny Gloria)
BEST SOUND AND AURAL ORCHESTRATION
Hiram na Mukha (M: Vehnee Saturno; S:
Ramon Reyes)
Tag-Araw, Tag-Ulan (M: Vehnee Saturno:
S: Rolly Ruta and Vic Macama)
Aswang (: Vehnee Saturno: S: Rolly Ruta
and Vic Macama)
Ikaw Pa Lang ang Minahal (: Vehnee
Saturno: S: Rolly Ruta and Vic
Macama)
BEST PERFORMANCE
Maricel Soriano (Ikaw Pa Lang ang
Minahal)
Lorna Tolentino (Narito ang Puso Ko)
Nanette Medved (Hiram na Mukha)
Gabby Concepcion (Tayong Dalawa)
Dawn Zulueta (Iisa Pa Lamang)
Maricel Laxa (Ikaw ang Lahat sa Akin)
Vilma Santos (Sinungaling Mong Puso)
Gabby Concepcion (Narito ang Puso Ko)
4TH CIRCLE CITATIONS, 1993
BEST PICTURE
Hindi Kita Malilimutan (Jose Javier Reyes)
Aliwan Paradise (Mike de Leon)
Inay (Artemio Marquez)
Ikaw (Joel Lamangan)
Gaano Kita Kamahal (Butch Perez)
77
BEST SCREENPLAY
Hindi Kita Malilimutan (Jose Javier Reyes)
The Maricris Sioson Story: Japayuki
(Lualhati Bautista)
Aliwan Paradise (Clodualdo Del Mundo, Jr.)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Ikaw Lang (C: Jun Dalawis; PD: Charlie
Arceo)
Aliwan Paradise (C: Johnny Araojo; PD:
Cesar Hernando)
Kung Mawawala Ka Pa (C: Romeo Vitug;
PD: Joey Luna)
BEST EDITING
Aliwan Paradise (Jose Almojuela)
Ikaw Lang (Renato De Leon)
Kung Mawawala Ka Pa (Jess Navarro)
BEST SOUND AND AURAL ORCHESTRATION
Kung Mawawala Ka Pa (M: Ryan
Cayabyab; S: Ramon Reyes)
Aliwan Paradise (M: Ding Achacoso and
Haruomi Hosono; S: Kenichi Benitani)
Ikaw Lang (M: Mon Del Rosario; S: Vic
Macamay)
BEST PERFORMANCE
Nora Aunor (Inay)
Aga Muhlach (Hindi Kita Malilimutan)
Vilma Santos (Dahil Mahal Kita: The
Dolzura Cortez Story)
Dawn Zulueta (Kung Mawawala Ka Pa)
5TH CIRCLE CITATIONS, 1994
BEST PICTURE
Vampira (Joey Romero)
Pangako ng Kahapon (Joel Lamangan)
Wating (Ishmael Bernal)
Sana Dalawa ang Puso Ko (Laurice Guillen)
BEST SCREENPLAY
Sana Dalawa ang Puso Ko (Joen Chionglo
and Laurice Guillen)
Massacre Files (Ricardo Lee)
Separada(Ricardo Lee and Tessie Tomas)
Kadenang Bulaklak (Lualhati Bautista)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
The Fatima Buen Story (C: Johnny Araojo
and Romulo Araojo; PD: Benjie De
Guzman)
Wating (C: Charlie Peralta; PD: Len Santos
and Jayjay Medina)
Vampira(C: Charlie Peralta; PD: Benjie De
Guzman)
Pangako ng Kahapon (C: Romeo Vitug; PD:
Manny Morfe)
Sana Dalawa ang Puso Ko (C: Eduardo
Jacinto; PD: Edgar Martin Littaua)
BEST EDITING
Vampira (Danilo Gloria)
Pangako ng Kahapon (Jess Navarro)
Wating (Danilo Gloria)
The Fatima Buen Story (George Jarlego)
BEST SOUND AND AURAL ORCHESTRATION
Sana Dalawa ang Puso Ko (M: Nonong
Buencamino; S: Ramon Reyes)
Wating (M: Jaime Fabregas; S: Joe Climaco)
Pangako ng Kahapon (M: Vehnee Saturno;
S: Vic Macamay)
Vampira (M: Jaime Fabregas; Joe Climaco)
The Fatima Buen Story (M: Nonong
Buencamino; S: Joe Climaco)
BEST PERFORMANCE
Maricel Soriano (Vampira)
Dawn Zulueta (Buhay ng Buhay Ko)
Maricel Soriano (Separada)
Dina Bonnevie (Sana Dalawa ang Puso Ko)
Alice Dixson (Bakit Ngayon Ka Lang)
Carmina Villaroel (Wating)
Snooky Serna (Koronang Itim)
6TH CIRCLE CITATIONS, 1995
BEST PICTURE
Nena (Ike Jarlego, Jr.)
Sana Maulit Muli (Olivia Lamasan)
The Flor Contemplacion Story (Joel Lamangan)
BEST SCREENPLAY
Nena (Lualhati Bautista)
Sana Maulit Muli (Olivia Lamasan and
Jose Javier Reyes)
78
The Flor Contemplacion Story (Ricardo Lee
and Boni Ilagan)
Pare Ko (Jose Javier Reyes)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
The Flor Contemplacion Story (C: Felizardo
Bailen; PD: Raymond Bajarias)
Nena (C: Lito Mempin; PD: Ernest
Santiago)
Dahas (C: Charlie Peralta; PD: Jeffrey
Jeturian)
Sana Maulit Muli (C: Romeo Vitug; PD:
Randy Gamier)
Inagaw Mo ang Lahat sa Akin(C: Romeo
Vitug; PD: Joey Luna)
Sa Ngalan ng Pag-ibig (C: Charlie Peralta;
PD: Benjie De Guzman)
BEST EDITING
Dahas (Jaime David)
Sa Ngalan ng Pag-ibig (George Jarlego)
Pare Ko (George Jarlego)
Nena (Marya Ignacio)
BEST SOUND AND AURAL ORCHESTRATION
Dahas (M: Jessie Lasaten; S: Albert
Michael Idioma)
Sa Ngalan ng Pag-ibig (M: Jaime Fabregas;
S: Joe Climaco)
Pare Ko (M: Eric Antonio and Carlo
Bulahan; S: Ramon Reyes)
Nena (M: Nonong Buencamino; S: Vic
Macamay)
BEST PERFORMANCE
Nora Aunor (The Flor Contemplacion Story)
Aga Muhlach (Sana Maulit Muli)
Nora Aunor (Muling Umawit ang Puso)
Jaclyn Jose (The Flor Contemplacion Story)
Lorna Tolentino (Sa Ngalan ng Pag-ibig)
Amy Austria (Nena)
Sharmaine Arnaiz (Ipaglaban Mo: The Movie)
Maricel Soriano (Dahas)
7TH CIRCLE CITATIONS, 1996
BEST PICTURE
Mumbaki (Jose Antonio Perez)
BEST SCREENPLAY
Mumbaki (Amado Lacuesta)
Segurista (Tikoy Aguiluz, Amado
Lacuesta, Jr., and Jose Lacaba)
Ganti ng Puso (Roy Iglesias)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Isla (C: Isagani Joson; PD: Lino Dalay and
Willy Javier)
Mumbaki (C: Eduardo Jacinto; PD: Joey Luna)
Segurista (C: Jun Dalawis; PD: Edgar
Martin Littaua)
BEST EDITING
Isla (Ruben Pantoja)
Mumbaki (Manet Dayrit)
Ganti ng Puso (Ferren Salumbides)
Segurista (Edgardo Vinarao and Myrna
Medina Bhunjun)
BEST SOUND AND AURAL ORCHESTRATION
Mumbaki (M: Jaime Fabregas; S: Ramon
Reyes)
Isla (M: Nonong Buencamino; S: Ramon
Reyes)
BEST PERFORMANCE
Christopher de Leon (Madrasta)
Nora Aunor (Bakit May Kahapon Pa)
Jaclyn Jose (May Nagmamahal sa Iyo)
8TH CIRCLE CITATIONS, 1997
BEST PICTURE
Batang PX (Jose Javier Reyes)
Damong Ligaw (Jose Mari Avellana)
BEST SCREENPLAY
Batang PX (Jose Javier Reyes)
Minsan Lamang Magmamahal (Jose Javier
Reyes)
Damong Ligaw (Jose Mari Avellana)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Milagros (C: Eduardo Jacinto; PD: Len
Santos)
Batang PX (C: Ding Achacoso; PD: Benjie
De Guzman)
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Hanggang Kailan Kita Mamahalin (C: Joe
Batac, Jr.; PD: Nuel Naval)
BEST EDITING
Milagros (Jess Navarro)
Batang PX (Danny Gloria)
BEST SOUND AND AURAL ORCHESTRATION
Milagros (M: Nonong Buencamino; S:
Ramon Reyes)
Damong Ligaw (M: Irwin Cafugauan; S:
Noel Bruan and Nestor Mutia)
Hanggang Kailan Kita Mamahalin (M:
Willy Cruz; S: Ramon Reyes)
BEST PERFORMANCE
Patrick Garcia(Batang PX)
Nora Aunor (Babae)
Nonie Buencamino (Milagros)
Maricel Soriano (Minsan Lamang
Magmamahal)
Romnick Sarmenta (Damong Ligaw)
Lorna Tolentino (Hanggang Kailan Kita
Mamahalin)
9TH CIRCLE CITATIONS, 1998
BEST PICTURE
Bata, Bata, Paano Ka Ginawa (Chito S. Roño)
Babae sa Bubungang Lata (Mario O’ Hara)
Sana Pag-ibig Na (Jeffrey Jeturian)
Curacha: Ang Babaeng Walang Pahinga
(Chito S. Roño)
BEST SCREENPLAY
Bata, Bata, Paano Ka Ginawa (Lualhati
Bautista)
Babae sa Bubungang Lata (Mario O’Hara)
Sana Pag-ibig Na (Armando Lao)
Curacha: Ang Babaeng Walang Pahinga
(Ricardo Lee)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Babae sa Bubungang Lata (C: Rey De Leon;
PD: James Quimson)
Curacha, Ang Babaeng Walang Pahinga (C:
Charlie Peralta; PD: Tatus Aldana)
Bata, Bata, Paano Ka Ginawa (C: Charlie
Peralta; PD: Manny Morfe)
BEST EDITING
Sana Pag-ibig Na (Robert Vasadre)
Bata, Bata, Paano Ka Ginawa (Jaime Davila)
Curacha, Ang Babaeng Walang Pahinga
(Jaime Davila)
BEST SOUND ANG AURAL
ORCHESTRATION
Curacha, Ang Babaeng Walang Pahinga
(M: Jaime Fabregas; S: Albert Michael
Idioma)
Bata, Bata, Paano Ka Ginawa (M: Jessie
Lasaten; S: Albert Michael Idioma)
Sana Pag-ibig Na (M: Joy Marfil; S: Willy
Islao)
BEST PERFORMANCE
Vilma Santos (Bata, Bata, Paano Ka Ginawa)
Nida Blanca (Sana Pag-ibig Na)
Serena Dalrymple (Bata, Bata, Paano Ka
Ginawa)
Anita Linda (Babae sa Bubungang Lata)
Cesar Montano (José Rizal)
10TH CIRCLE CITATIONS, 1999
BEST PICTURE
Sisa (Mario O’Hara)
Pila Balde (Jeffrey Jeturian)
Saranggola (Gil M. Portes)
Phone Sex (Jose Javier Reyes)
Bulaklak ng Maynila (Joel Lamangan)
BEST SCREENPLAY
Sisa (Mario O’Hara)
Pila Balde (Armando Lao)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Pila Balde (C: Shayne Sarte-Clemente; PD:
Ronnie Cruz)
Phone Sex (C: Eduardo Jacinto; PD: Jake
De Asis)
Bulaklak ng Maynila(C: Monino Duque;
PD: Benjie De Guzman)
BEST EDITING
Pila Balde (Robert Vasadre)
Sisa (George Jarlego)
Luksong Tinik (Vito Cajili)
80
BEST SOUND AND AURAL ORCHESTRATION
Phone Sex (M: Jesse Lucas; S: Albert
Michael Idioma)
Pila Balde (M: Jay Durias; S: Joe Climaco)
Bulaklak ng Maynila (M: Jessie Lasaten; S:
Ramon Reyes)
BEST PERFORMANCE
Elizabeth Oropesa (Bulaklak ng Maynila)
Lester Llansang (Saranggola)
Christopher de Leon (Bulaklak ng
Maynila)
Jhong Hilario (Muro-ami)
11TH CIRCLE CITATIONS, 2000
BEST PICTURE
Bayaning Third World (Mike De Leon)
Tanging Yaman (Laurice Guillen)
Senswal (Edgardo Vinarao)
Mother Ignacia, Ang Uliran (Nick Deocampo)
Sugatang Puso (Jose Javier Reyes)
BEST SCREENPLAY
Tanging Yaman (Laurice Guillen, Shaira
Mella Salvador, and Raymond Lee)
Senswal (Jose Carreon)
Mother Ignacia, Ang Uliran (Nick
Deocampo and Chuck Escasa)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Bayaning Third World (C: Ding Achacoso;
PD: Roy Lachica)
Pedrong Palad (C: Alma Dela Peña and
Louie Quirino; PD: Ellen Ramos)
Senswal (C: Romeo Vitug; PD: Donnie
Gonzales)
Pangarap ng Puso (C: Johnny Araojo; PD:
Judy Lou De Pio and John Portugal)
Laro sa Baga (C: Neil Daza; PD: Mike Guison)
Markova Comfort Gay (C: Johnny Araojo;
PD: Kay Abaño)
Tanging Yaman (C: Lee Meily; PD: Edgar
Martin Littaua)
BEST EDITING
Bayaning Third World (Armando Jarlego)
Senswal (Edgardo Vinarao)
Tanging Yaman (George Jarlego)
BEST SOUND AND AURAL ORCHESTRATION
Bayaning Third World (M: Lorrie Ilustre; S:
Noel Cruz Bruan and Raffy Baladjay, Jr.)
Sugatang Puso (M: Jesse Lucas; S: Albert
Michael Idioma)
Tanging Yaman (M: Nonong Buencamino;
S: Ramon Reyes)
BEST PERFORMANCE
entire cast (Tanging Yaman)
Rio Locsin (Bayaning Third World)
Elizabeth Oropesa (Senswal)
Alessandra de Rossi (Azucena)
Dolphy (Markova, Comfort Gay)
Johnny Delgado (Tanging Yaman)
Gloria Romero (Tanging Yaman)
12TH CIRCLE CITATIONS, 2001
BEST PICTURE
Minsan May Isang Puso (Jose Javier Reyes)
Sa Huling Paghihintay (Erik Matti)
Yamashita: The Tiger’s Treasure (Chito S. Roño)
BEST SCREENPLAY
Minsan May Isang Puso (Jose Javier Reyes)
Sa Huling Paghihintay (Mark Querubin,
Jay Abello, and Erik Matti)
Yamashita: The Tiger’s Treasure (Roy Iglesias)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Yamashita: The Tiger’s Treasure (C: Neil
Daza; PD: Fernan Santiago)
Sa Huling Paghihintay (C: Lauro Rene R.
Manda; PD: Rodell Cruz)
Minsan May Isang Puso (C: Eduardo
Jacinto; PD: Jake De Asis)
La Vida Rosa (C: Neil Daza; PD: Gerry Pascual)
BEST EDITING
Minsan May Isang Puso (Tara Illenberger)
Sa Huling Paghihintay (Vito Cajili)
La Vida Rosa (Vito Cajili and Joyce Bernal)
Hubog (Tara Illenberger)
Yamashita: The Tiger’s Treasure (Manet
Dayrit)
81
BEST SOUND AND AURAL ORCHESTRATION
Minsan May Isang Puso (M: Jesse Lucas; S:
Albert Michael Idioma)
Yamashita: The Tiger’s Treasure (M:
Kormann Roque and Nathan
Brenholdt; S: Albert Michael Idioma)
Sa Huling Paghihintay (M: Toto Gentica; S:
Arnold Reodica)
Hubog (M: Jessie Lasaten; S: Albert
Michael Idioma)
BEST PERFORMANCE
Jaclyn Jose (Minsan May Isang Puso)
Mark Gil (Sa Huling Paghihintay)
Carlo Aquino (Minsan May Isang Puso)
Ricky Davao (Minsan May Isang Puso)
Rosanna Roces (La Vida Rosa)
13TH CIRCLE CITATIONS, 2002
BEST PICTURE
Dekada ‘70 (Chito S. Roño)
Buko Pandan (Uro Q. de la Cruz)
Itlog (Francis Jun Posadas)
Diskarte (Edgardo Boy Vinarao)
Mga Munting Tinig (Gil M. Portes)
BEST SCREENPLAY
Dekada ‘70 (Lualhati Bautista)
Itlog (Jerry Arcega-Gracio)
Diskarte (Humilde Meek Roxas and
Senen C. Dimaguila)
Mga Munting Tinig (Adolf Alix, Jr., Gil
Portes, and Senedy Que)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Ikaw Lamang Hanggang Ngayon (C: Yam
Laranas; PD: Sammy Aranzamendez)
Buko Pandan (C: Johnny Araojo; PD: Nene
Nebres)
Itlog (C: Romeo Vitug; PD: Edgar Martin
Littaua)
Diskarte (C: Jun Pereira; PD: Alex Ochoa)
Mga Munting Tinig (C: Ely Cruz; PD:
Arthur Nicdao)
Dekada ‘70 (C: Neil Daza; PD: Manny Morfe)
BEST EDITING
Diskarte (Francis Vinarao)
Mga Munting Tinig (George Jarlego)
Dekada ‘70 (Jess Navarro)
BEST SOUND AND AURAL ORCHESTRATION
Dekada ‘70 (M: Nonong Buencamino; S:
Albert Michael Idioma and Alex Tomboc)
Buko Pandan (M: Blitz Padua; S: Nestor
Arvin Mutia)
Diskarte (M: Tony Cortez; S: Nestor Arvin
Mutia)
BEST PERFORMANCE
Katherine Luna (Babae sa Breakwater)
Maricel Soriano (Filipinas)
Elizabeth Oropesa (Homecoming)
entire cast (Malikmata)
15TH CIRCLE CITATIONS, 2004
BEST PICTURE
Minsan Pa (Jeffrey Jeturian)
Sigaw (Yam Laranas)

BEST PERFORMANCE
BEST SCREENPLAY
Vilma Santos (Dekada ‘70)
Minsan Pa (Armando Lao)
Piolo Pascual (Dekada ‘70)
Sigaw (Roy Iglesias)
Regine Velasquez (Ikaw Lamang
Hanggang Ngayon)
BEST CINEMATOGRAPHY
Celso Ad. Castillo (Itlog)
AND VISUAL DESIGN
Sigaw (C: Yam Laranas; PD: Sammy
14TH CIRCLE CITATIONS, 2003 Aranzamendez)
BEST PICTURE
Babae sa Breakwater (Mario O’Hara) BEST EDITING
Anghel sa Lupa (Jose Javier Reyes) Sigaw (Manet Dayrit)
Homecoming (Gil M. Portes) Spirit of the Glass (Vito Cajili)
Malikmata (Jose Javier Reyes)
BEST SOUND AND AURAL ORCHESTRATION
BEST SCREENPLAY Sigaw (M: Jesse Lucas; S: Albert Michael
Babae sa Breakwater Idioma and Arnold Reodica)
Anghel sa Lupa Feng Shui (M: Carmina Cuya; S: Albert
Michael Idioma)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN BEST PERFORMANCE
Babae sa Breakwater (C: Rey De Leon; PD: Jomari Yllana (Minsan Pa)
Melody Teodoro) Dennis Trillo (Aishite Imasu)
Anghel sa Lupa (C: Mark Gary; PD: Jake Nora Aunor (Naglalayag)
De Asis) Jericho Rosales (Santa Santita)
Malikmata (C: Regiben Romana and Lito
Mempin; PD: Edgardo Littaua)
16TH CIRCLE CITATIONS, 2005
BEST EDITING BEST PICTURE
Malikmata (Vito Cajili) Masahista (Brillante Mendoza)
Babae sa Breakwater (Roberto Vasandre)
Anghel sa Lupa (Tara Illenberger) BEST SCREENPLAY
Masahista (Boots Agbayani Pastor)
BEST SOUND AND AURAL ORCHESTRATION Let the Love Begin (RJ Nuevas and Suzette
Anghel sa Lupa (M: Jesse Lucas; S: Ross Diaz) Doctolero)
Babae sa Breakwater (M: Jesse Lucas; S:
Leody Maralit) BEST CINEMATOGRAPHY
Malikmata (M: Francis Guevarra and Ferdie AND VISUAL DESIGN
Marquez; S: Albert Michael Idioma) Masahista (C: Timmy Jimenez and

82
 Monchie Redoble; PD: Benjamin BEST SCREENPLAY
Padero) Foster Child (Ralston Jover)
Paraiso (C: Ramon Marcelino; PD: Han Salazar) Endo (Jade Castro, Michiko Yamamoto,
and Raymond Lee)
BEST EDITING
Masahista (Nonoy Dadivas and Herbert BEST CINEMATOGRAPHY
Navasca) AND VISUAL DESIGN
Death in the Land of the Encantos (C: Lav
BEST SOUND AND AURAL ORCHESTRATION Diaz; PD: Dante Perez)
Masahista (M: Jerrold Tarog; S: Rudy Foster Child (C: Odyssey Flores; PD:
Gonzales and Nonoy Davidas) Benjamin Padero)
Still Life (C: Dan Villegas; PD: Cris Silva)
BEST PERFORMANCE Tirador (C: Jeffrey Dela Cruz, Brillante
Coco Martin (Masahista) Mendoza, Gary Tria, Julius Palomo
entire cast (Nasaan Ka Man) Villanueva; PD: Deans Habal and
Jaclyn Jose (Masahista) Harley Alcasid)
John Lloyd Cruz (Dubai)
BEST EDITING
17TH CIRCLE CITATIONS, 2006 Endo (J.D. Domingo)
Tirador (Charliebebs Gohetia)
BEST PICTURE
Inang Yaya (Pablo Biglang-Awa and
BEST SOUND AND AURAL ORCHESTRATION
Veronica Velasco)
Endo (M: Owel Alvero; S: Corinne De San
BEST SCREENPLAY Jose and Mark Locsin)
Inang Yaya (Veronica Velasco) Still Life (M: Wincy Aquino Ong; S: Joey
Santos)
BEST CINEMATOGRAPHY Tirador (M: Teresa Barrozo; S: Ditoy
AND VISUAL DESIGN Aguila and Junel Valencia)
Inang Yaya (C: Gary Gardoce; PD: Reji
Regalado) BEST PERFORMANCE
Kubrador (C: Boy Yniguez; PD: Leo Abaya) Jason Abalos (Endo)
Cherry Pie Picache (Foster Child)
BEST EDITING Eugene Domingo (Foster Child)
Inang Yaya (Randy Gabriel) Ron Capinding (Still Life)
Kubrador (Jay Halili)

BEST SOUND AND AURAL ORCHESTRATION 19TH CIRCLE CITATIONS, 2008

Inang Yaya (M: Nonong Buencamino; S: BEST PICTURE
Mark Locsin and Angie Reyes) Adela (Adolfo Alix, Jr.)
Serbis (Brillante Mendoza)
BEST PERFORMANCE
Maricel Soriano (Inang Yaya) BEST SCREENPLAY
Cherry Pie Picache (Kaleldo) Adela (Adolfo Alix, Jr. and Nick Olanka)
entire cast (Inang Yaya) Serbis (Armando Lao)

18TH CIRCLE CITATIONS, 2007 BEST CINEMATOGRAPHY

AND VISUAL DESIGN
BEST PICTURE
Adela (C: Albert Banzon; PD: Adolfo Alix,
Foster Child (Brillante Mendoza)
Jr. and Jerome Zamora)
Endo (Jade Francis Castro)

83
Serbis (C: Odyssey Flores; PD: Carlo Tabije
and Benjamin Padero)
BEST EDITING
Adela (Aleks Castañeda)
Serbis (Claire Villa-Real)
BEST SOUND AND AURAL ORCHESTRATION
Adela (M: Mark Locsin and Jojo Jacinto; S:
Ditoy Aguila and Junel Valencia)
Serbis (M: Gian Gianan; S: Emmanuel
Clemente)
BEST PERFORMANCE
Anita Linda (Adela)
Paolo Paraiso (Imoral)
Ronnie Lazaro (Yanggaw)
Carlo Aquino (Baler)
20TH CIRCLE CITATIONS, 2009
BEST PICTURE
Bakal Boys (Ralston Jover)
Last Viewing (Roni Bertubin)
Biyaheng Lupa (Armando Lao)
Engkwentro (Pepe Diokno)
BEST SCREENPLAY
Biyaheng Lupa (Armando Lao)
Last Viewing (Romualdo Avellanosa)
Ang Panggagahasa kay Fe (Alvin Yapan)
Last Supper No. 3 (Veronica Velasco and
Jinky Laurel)
Bakal Boys (Ralston Jover and Henry Burgos)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Bakal Boys (C: Ruben Dela Cruz; PD:
Deans Habal)
Engkwentro (C: Emman Pascual; PD:
Leeroy New)
BEST EDITING
Engkwentro (Ralph Crisostomo, Miguel
Araneta, and Orlean Joseph Tan)
Last Viewing (Lee Mi Soon)
Bakal Boys (Charliebebs Gohetia and Kats
Serraon)
84
BEST SOUND AND AURAL ORCHESTRATION
Biyaheng Lupa (M: Gian Gianan; S:
Emmanuel Nolet Clemente and Ditoy
Aguila)
Engkwentro (S: Mark Laccay)
Bakal Boys (M: Teresa Barrozo; S: Mark
Locsin)
BEST PERFORMANCE
Janice de Belen (Last Viewing)
Anita Lina and Rustica Carpio (Lola)
Ensemble (Biyaheng Lupa)
Meljon Guinto (Bakal Boys)
21ST CIRCLE CITATIONS, 2010
BEST PICTURE
Himpapawid (Raymond Red)
Ang Damgo ni Eleuteria (Remon Siega Zuasola)
Punerarya (Jerrold Tarog)
BEST SCREENPLAY
Himpapawid (Raymond Red)
Ang Damgo ni Eleuteria (Remton Siega
Zuasola)
Punerarya (Rona Lean Sales and Aloy
Adlawan)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Himpapawid (C: Raymond Red; PD:
Danny Red; Design Consultants: Cesar
Hernando, and Ronald Red)
Ang Damgo ni Eleuteria (C: Christian
Linaban; PD: Kaloy Uypuanco, AD:
Victor Villanueva, CS: Syrel Lopez)
Punerarya (C: Mackie Galvez; PD:
Benjamin Padero)
BEST EDITING
Himpapawid (David Hukom, Jay Halili,
Raymond Red)
Ang Damgo ni Eleuteria (Remton Siega
Zuasola)
Punerarya (Renewin Alano)
BEST SOUND AND AURAL ORCHESTRATION
Punerarya (M: Jerrold Tarog; S: Lamberto
Casas, Jr.)
Himpapawid (M: Diwa De Leon)
Ang Damgo ni Eleuteria (M: Jerrold Tarog;
Vanya Fantonial)
BEST PERFORMANCE
Carla Abellana (Punerarya)
Raul Arellano (Himpapawid)
BEST PERFORMANCE
Diana Zubiri (Bahay Bata)
Arthur Acuña (Niño)
Fides Cuyugan-Asensio (Niño)
Sharmaine Centenera-Buencamino (Niño)
Vincent Sandoval (Señorita)
Alfred Vargas (Teoriya)

22ND CIRCLE CITATIONS, 2011 23RD CIRCLE CITATIONS, 2012

BEST PICTURE BEST PICTURE
Haruo (Adolf Alix, Jr.) Qiyamah (Gutierrez Mangansakan II)
Bahay Bata (Eduardo Roy, Jr.) Ang Paglalakbay ng mga Bituin sa Gabing
Señorita (Vincent Sandoval) Madilim (Arnel Mardoquio)
Kalayaan (Adolfo Alix, Jr.)
BEST SCREENPLAY
Niño (Rody Vera) BEST SCREENPLAY
Ang Sayaw ng Dalawang Kaliwang Paa Ang Paglalakbay ng mga Bituin sa Gabing
(Alvin Yapan) Madilim (Arnel Mardoquio)
Bisperas (Paul Sta. Ana) Aparisyon (Vincent Sandoval and Jerry
Haruo (Jerome Zamora) Gracio)
Señorita (Vincent Sandoval and Roy Kalayaan (Adolfo Alix, Jr.)
Sevilla Ho) Oros (Paul Sta. Ana and Obet Villela)
Teoriya (Zurich Chan) Qiyamah (Gutierrez Mangansakan II)
Thy Womb (Henry Burgos)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN BEST CINEMATOGRAPHY
Teoriya (C: Dexter Dela Peña; PD: Paul AND VISUAL DESIGN
Marquez) Kalayaan (C: Albert Banzon; PD: Adolfo
Bahay Bata (C: Ogi Sugatan; PD: Harry Alix, Jr.)
Alcasid; AD: Armand Samonte; CS: Ang Paglalakbay ng mga Bituin sa Gabing
Tessa Aquino) Madilim (C: Arnel Barbarona and
Bisperas (C: Roberto Yniquez; PD: Rodrigo McRobert Nacario; PD: Bagwani
Ricio; CS: Tessa Aquino) Ampalayo)
Haruo (C: Albert Banzon; PD: Roland Diablo (C: Tristan Salas; PD: Cesar
Rubenecia) Hernando)
Señorita (C: Ruel Dahis Antipuesto; PD: Kamera Obskura (C: Raymond Red; PD:
Armi Rae Cacanindin) Daniel Red and Cesar Hernando; AD:
Mikey Red; VE: Edrie Ocampo and
BEST EDITING Pablo Biglang-Awa)
Señorita (Charliebebs Gohetia) Qiyamah (C: McRobert Nacario; PD: Perry
Haruo (Aleks Castañeda) Dizon)
Thy Womb (C: Odyssey Flores; PD:
BEST SOUND AND AURAL ORCHESTRATION Brillante Mendoza)
Ang Sayaw ng Dalawang Kaliwang Paa (M:
Christine Muyco and Jema Pamintuan; BEST EDITING
S: Arnold Reodica) Qiyamah (Arnel Barbarona and Gutierrez
Bahay Bata (M: Toni Muñoz; S: Albert Mangansakan II)
Michael Idioma) Aparisyon (Jerrold Tarog and Vincent
Niño (M: Jerrold Tarog; S: Albert Michael Sandoval)
Idioma)
85
Jingle Lang ang Pahina (Aimee Apostol-
Escasa)
Kalayaan (Aleks Castañeda)
Thy Womb (Kats Serraon)
BEST SOUND AND AURAL ORCHESTRATION
Kalayaan (M: Teresa Barrozo; S: Ditoy
Aguila)
Qiyamah (M: Raphael Pulgar; S: Arnel
Barbarona)
Ang Paglalakbay ng mga Bituin sa Gabing
Madilim (S: Arbi Barbarona)
BEST PERFORMANCE
Nora Aunor (Thy Womb)
Kristoffer King (Oros)
Ama Quiambao (Diablo)
Fides Cuyugan-Asensio (Aparisyon)
Kristoffer Martin (Oros)
24TH CIRCLE CITATIONS, 2013
BEST PICTURE
Porno (Adolfo Alix, Jr.)
Mga Anino ng Kahapon (Alvin Yapan)
Babagwa (Jason Paul Laxamana)
Badil (Chito Roño)
Dukit (Armando Lao)
Ang Kwento ni Mabuti (Mes de Guzman)
Pagpag (Frasco Santos Mortiz)
Quick Change (Eduardo Roy, Jr.)
BEST SCREENPLAY
Porno (Ralston Jover)
Mga Anino ng Kahapon (Alvin Yapan)
Babagwa (Jason Paul Laxamana)
Badil (Rodolfo Vera)
Debosyon (Alvin Yapan)
Dukit (Armando Lao)
Ang Kwento ni Mabuti (Mes De Guzman)
Quick Change (Eduardo Roy, Jr.)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Lauriana (C: Nap Jamir; PD: Edgar Martin
Littaua)
Mga Anino ng Kahapon (C: Dexter Dela
Peña and Jan Tristan Pandy; PD:
Whammy Alcazaren; AD: Frances
Grace Mortel and Rita Vargas; SD:
Phyllis Grae Grande)
86
Badil (C: Neil Daza; PD: Jayvee Taduran;
AD: Donald Camon)
Debosyon (C: Dexter Dela Peña; AD:
Roy Dominguiano and Pat Noveno;
PD: Dennis Corteza and Paolo Rey
Mendoza Piaña; VE: Omar Aguilar)
Dukit (C: Triztan Garcia, Bruno Tiotuico,
Jeffrey Icawat, and Diego Dobles; PD:
Leo Abaya and Olga Marquez)
The Guerilla is a Poet (C: Kiri Dalena; PD:
Sari Dalena)
Ang Kwento ni Mabuti (C: Albert Banzon;
PD: Cesar Hernando and Mes De
Guzman)
Pagpag (C: David Diaz-Abaya; PD: Luis
Custodio IV; VE: Daren Francis Raña)
Porno (C: Albert Banzon; PD: Adolfo Alix,
Jr.; AD: Bobet Lopez)
Quick Change (C: Dan Villegas; PD: Harley
Alcasid)
Sonata (C: Mark Gary; PD: Emilio
Montelibano, Jr.; VE: Richard Francia)
BEST EDITING
Porno (Aleks Castañeda)
Pagpag (Jerrold Tarog)
Badil (Carlo Francisco Manatad)
Dukit (Diego Marx Dobles)
BEST SOUND AND AURAL ORCHESTRATION
Porno (S: Albert Michael Idioma and Ira
Trofeo)
Babagwa (M: Lucien Letaba and Joseph
Lansang; S: Addiss Tabong)
Badil (M: Carmina Cuya; S: Addiss
Tabong)
Debosyon (M: Teresa Barrozo and Jireh
Pasano; S: Ray Andrew San Miguel
and Andrew Millalos)
Dukit (M: Armando Lao; S: Armando Lao)
Pagpag (M: Francis Concio; S: Arnel
Labayo)
BEST PERFORMANCE
Carlo Aquino (Porno)
Jhong Hilario (Badil)
Angel Aquino (Porno)
Nora Aunor (Ang Kwento ni Mabuti)
Adrian Cabido (Lauriana)
Carlo Cruz (Mga Anino ng Kahapon)
Allen Dizon (Lauriana)
Cherie Gil (Sonata Maria)
Dick Israel (Badil)
Alex Vincent Medina (Babagwa)
Daniel Padilla (Pagpag)
Joey Paras (Babagwa)
Sue Prado (Ang Kwento ni Mabuti)
TJ Trinidad (Mga Anino ng Kahapon)
Entire cast (Porno)
BEST FIRST FEATURE
Angustia (Kristian Sendon Cordero)
Puti (Miguel Alcazaren)
Ang Turkey man ay Pabo rin (Randolph
Longjas)
25TH CIRCLE CITATIONS, 2014
BEST PICTURE
No winner and nominees
BEST SCREENPLAY
No winner and nominees
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Dagitab (C: Rommel Sales; PD: Whammy
Alcazaren and Tessa Tang)
Mariquina (C: Sasha Palomares; PD: Aped
Santos)
Sonata Maria (C: Wrap Meting and
Mark Limbaga; PD: Bagane Fiola,
Orvil Bantayan, Mandy Velasco, Lulu
Amorado, and Louie Daniel)
BEST EDITING
Mariquina (Benjamin Tolentino)
Dagitab (Benjamin Tolentino)
Nick and Chai (Cha Escala and Bam
Luneta)
Sonata Maria (Bagane Fiola)
BEST SOUND AND AURAL ORCHESTRATION
Sonata Maria (M: Jad Montenegro; S:
Maki Serapio, Wrap Meting, and Mark
Limbaga)
Dagitab (M: Mon Espia; S: Adam Newns
and Mikko Quizon)
87
BEST PERFORMANCE
Eula Valdes and Nonie Buencamino
(Dagitab)
Nonie Buencamino (Dagitab)
Eula Valdes (Dagitab)
Krigi Hager (Sonata Maria)
Bing Pimentel (Mariquina)
Isaac Cain Aguirre, Nathaniel Britt,
Elijah Canlas, and Akira Morishita
(Sundalong Kanin)
BEST FIRST FEATURE
Dagitab (Giancarlo Abrahan V)
Nick & Chai (Che Escala and Wena
Sanchez)
Sonata Maria (Bagane Fiola)
26TH CIRCLE CITATIONS, 2015
BEST PICTURE
Da Dog Show (Ralston Jover)
Ari: My Life with a King (Carlo Enciso Catu)
Balikbayan # 1 Memories of
Overdevelopment Redux III (Kidlat
Tahimik)
An Kubo sa Kawayanan (Alvin Yapan)
Taklub (Brillante Mendoza)
Mga Rebeldeng May Kaso (Raymond Red)
BEST SCREENPLAY
Da Dog Show (Ralston Jover)
An Kubo sa Kawayanan (Alvin Yapan)
Ari: My Life with a King (Robby
Tantingco)
Balikbayan # 1 Memories of Overdevelopment
Redux III (Kidlat Tahimik)
Mga Rebeldeng May Kaso (Raymond Red)
Salvage (Sherad Anthony Sanchez)
Taklub (Honeylyn Joy Alipio)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Balikbayan # 1 Memories of Overdevelopment
Redux III (C: Boy Yñiguez, Lee Briones,
Abi Lara, Santos Bayucca, Kidlat de Guia,
Kawayan de Guia, and Kidlat Tahimik;
PD: Kidlat Tahimik)
An Kubo sa Kawayanan (C: Ronald Rebutica;
PD: Paolo Rey Mendoza Piaña)
Bambanti (C: Joseph Delos Reyes and Ma.
 Solita Garcia; PD: Aped Santos)
Da Dog Show (C: Carlo Mendoza; PD:
Deans Habal)
Halik sa Hangin (C: Moises Zee; PD:
Manny Morfe)
Miss Bulalacao (C: Christian Linaban; PD:
Ernest Diño and Philip Sinajonon)
Mga Rebeldeng May Kaso (C: Raymond
Red; PD: Danny Red)
Salvage (C: Malay Javier; PD: Joel
Geolamen)
Taklub (C: Odysseus Flores; PD: Harley
Alcasid and Brillante Mendoza)
BEST EDITING
Salvage (Lawrence Ang)
Balikbayan # 1 Memories of
Overdevelopment Redux III (Charlie
Fugunt, Abi Lara, Chuck Gutierrez,
Clang Sison, Malaya Camporedondo)
Da Dog Show (Kats Serraon)
Halik sa Hangin (Beng Bandong)
An Kubo sa Kawayanan (Benjamin
Tolentino)
Mga Rebeldeng May Kaso (Raymond Red
and Erwin Toledo)
Shapes of Crimson (Emil James Mijares)
BEST SOUND AND AURAL ORCHESTRATION
Balikbayan # 1 Memories of
Overdevelopment Redux III (M: Los
Indios De España and Shanto; S: Ed
De Guia)
Ari: My Life with a King (M: Jake Abella; S:
Gilbert Obispo)
Halik sa Hangin (M: Francis Concio; S:
Addiss Tabong)
BEST PERFORMANCE
Lou Veloso (Da Dog Show)
Alessandra de Rossi (Bambanti)
Mercedes Cabral (An Kubo sa Kawayanan)
Mercedes Cabral (Da Dog Show)
Nora Aunor (Taklub)
Ronwaldo Martin (Ari: My Life with a
King)
Julia Montes (Halik sa Hangin)
Micko Laurente (Bambanti)
Epy Quizon, Felix Roco, Nicco Manahan,
88
Earl Ignacio, Angela Cortez (Mga
Rebeldeng May Kaso)
Jessy Mendiola, JC De Vera, Barbie Capacio,
Karl Medina, Joel Saracho (Salvage)
BEST FIRST FEATURE
Ari: My Life with a King (Carlo Enciso Catu)
Dayang Asu (Bor Ocampo)
Miss Bulalacao (Ara Chawdhury)
27TH CIRCLE CITATIONS, 2016
BEST PICTURE
Women of the Weeping River (Sheron
Dayoc)
Baboy Halas (Bagane Fiola)
Ma’ Rosa (Brillante Ma. Mendoza)
Malinak Ya Labi (Jose Abdel Langit)
Mrs. (Adolfo Alix, Jr.)
BEST SCREENPLAY
Mrs. (Ralston Jover)
Women of the Weeping River (Sheron
Dayoc)
Ma’ Rosa (Troy Espiritu)
Malinak Ya Labi (Jose Abdel Langit)
Patay Na Si Hesus (Fatrick Tabada and
Moira Lang)
Area (Robby Tantingco and Ferdinand
Dizon Lapuz)
Ang Tulay ng San Sebastian (Alvin Yapan)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Baboy Halas (Raphael Meting, Mark
Limbaga, Joel Geolamen)
Mrs. (Albert Banzon, Arthur Maningas)
Tuos (Mycko David, Steff Dereja)
Ma’ Rosa (Odyssey Flores, Brillante
Mendoza)
Women of the Weeping River (Rommel
Sales, Harley Alcasid)
BEST EDITING
Women of the Weeping River (Carlo
Francisco Manatad)
Ma’ Rosa (Diego Marx Dobles)
Malinak Ya Labi (Gilbert Obispo)
BEST SOUND AND AURAL ORCHESTRATION
Ang Tulay ng San Sebastian (Hiroko Nagai,
Jess Carlos)
Ma’ Rosa (Teresa Barrozo, Albert Michael
Idioma)
Women of the Weeping River (Kit
Mendoza, Albert Michael Idioma and
Immanuel Verona)
Malinak Ya Labi (Emerzon Texon, Gilbert
Obispo)
Patay Na Si Hesus (Francis de Veyra,
Mark Laccay and Nicholas Varela)
BEST PERFORMANCE
Laila Putli P. Ulao (Women of the Weeping
River)
Ai-Ai de las Alas (Area)
Barbie Forteza (Tuos)
Daria Ramirez (Mrs.)
Elizabeth Oropesa (Mrs.)
Nora Aunor (Tuos)
Jaclyn Jose (Ma’ Rosa)
Jaclyn Jose (Patay Na Si Hesus)
Luz Fernandez (Malinak Ya Labi)
Joem Bascon and Sandino Martin (Ang
Tulay ng San Sebastian)
Nora Aunor and Barbie Forteza (Tuos)
Ai-Ai de las Alas, Allen Dizon, Sue Prado,
Sarah Pagcaliwagan, Ireen Cervantes,
Tabs Sumulong, Sancho de las Alas,
Francisco Guinto, Cecile Yumul,
Bambalito Lacap, Eurocina Peña, Rein
Gutierrez, Vicky Vega-Cabigting (Area)
Allen Dizon, Angeline Quinto, Luz
Fernandez, Richard Quan, Dexter
Doria, Menggie Cobarrubias, Marcus
Madrigal, Althea Vega, Timothy
Castillo, Dante Balois, Tabs Sumulong,
Raul Tamayo, Shiela Paragas, Karla
Zabala, Angela Alfero (Malinak Ya Labi)
Jaclyn Jose, Julio Diaz, Baron Geisler,
Jomari Angeles, Neil Ryan Sese,
Mercedes Cabral, Andi Eigenmann,
Mark Anthony Fernandez, Felix Roco,
Mon Confiado, Maria Isabel Lopez,
Rubi Ruiz, John Paul Duray (Ma’ Rosa)
Jaclyn Jose, Chai Fonacier, Melde
Montañez, Vincent Viado, Mailes
Kanapi, Olive Nieto, Sheen Gener,
Albert Chan Paran (Patay Na Si Hesus)
89
BEST FIRST FEATURE
2 Cool 2 Be 4gotten (Petersen Vargas)
Malinak Ya Labi (Jose Abdel Langit)
28TH CIRCLE CITATIONS, 2017
BEST PICTURE
Baconaua (Joseph Israel Laban)
Kiko Boksingero (Thop Nazareno)
Medusae (Pamela Miras)
Mga Gabing Kasinghaba ng Hair Ko
(Gerardo Calagui)
The Chanters (James Robin Mayo)
BEST SCREENPLAY
The Chanters (John Paul Bedia and
Andrian Legaspi)
Baconaua (Joseph Israel Laban and
Denise O’Hara)
Kiko Boksingero (Emmanuel Espejo Jr.,
Ash Malanum, Denise O’Hara, Heber
O’Hara, and Thop Nazareno)
Medusae (Pam Miras)
Mga Gabing Kasinghaba ng Hair Ko (Mark
Duane Angos)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Baconaua (C: TM Malones; PD: Marielle
Hizon)
Kiko Boksingero (C: Marvin Reyes; PD:
Ericson Navarro)
Medusae (C: Albert Banzon; PD: Aped
Santos; VE: Vladimer Castañeto)
Nervous Translation (C: Albert Banzon,
Jippy Pascua, Dennise Victoria; PD:
Leeroy New)
The Chanters (C: Jav Velasco; PD: Carmela
Danao)
BEST ACHIEVEMENT IN EDITING
Nervous Translation (Shireen Seno and
John Torres)
God BLISS Our Home (Lawrence Ang)
Medusae (Lawrence Ang)
Mga Gabing Kasinghaba ng Hair Ko
(Bradley Liew)
BEST ACHIEVEMENT IN SOUND
AND AURAL ORCHESTRATION
Nervous Translation (M: Itos Ledesma; S:
Mikko Quizon)
Baconaua (M: Jema Pamintuan; S:
Monoxide Works, Bryan Dumaguina,
JR Miano)
The Chanters (M: Erwin Fajardo; S:
Immanuel Verona)
BEST PERFORMANCE
Anthony Falcon, Mga Gabing Kasinghaba
ng Hair Ko
Jana Agoncillo, Nervous Translation
Noel Comia, Jr., Kiko Boksingero
Mon Confiado, Mga Gabing Kasinghaba
ng Hair Ko
Desiree del Valle, Medusae
Duo performance (Noel Comia, Jr. and
Yayo Aguila), Kiko Boksingero
Elora Españo, Baconaua
Jally Nae Gilbaliga, The Chanters
Lead cast ensemble (Matt Daclan,
Anthony Falcon, Rocky Salumbides),
Mga Gabing Kasinghaba ng Hair Ko
Carl Palaganas, Medusae
BEST FIRST FEATURE
Kiko Boksingero (Thop Nazareno)
Si Chedeng at si Apple (Rae Red and
Fatrick Tabada)
The Chanters (James Robin Mayo)
29TH CIRCLE CITATIONS, 2018
BEST FILM
Sa Palad ng Dantaong Kulang (Jewel Maranan)
Call Her Ganda (PJ Raval)
Kung Paano Hinihintay ang Dapithapon
(Carlo Enciso Catu)
Masla A Papanok (Gutierrez
Mangansakan II)
Oda sa Wala (Dwein Baltazar)
BEST SCREENPLAY
Masla A Papanok (Gutierrez Mangansakan
II)
Call Her Ganda (Victoria Chalk and PJ Raval)
Kung Paano Hinihintay ang Dapithapon
(John Carlo Pacala)
90
Kuya Wes (Denise O’Hara and Heber O’Hara)
Oda sa Wala (Dwein Baltazar)
BEST EDITING
Call Her Ganda (Victoria Chalk)
A Short History of a Few Bad Things (Maria
Estela Paiso and Keith Deligero)
Kung Paano Siya Nawala (Lawrence Ang)
Never Not Love You (Benjamin Tolentino)
Sa Palad ng Dantaong Kulang (Lawrence
Ang and Jewel Maranan)
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Sa Palad ng Dantaong Kulang (Jewel
Maranan)
Kung Paano Hinihintay ang Dapithapon (C:
Neil Daza; PD: Marielle Hizon)
Kung Paano Siya Nawala (C: Ike Avellana;
PD: Christina Dy)
Kuya Wes (C: Theo Lozada; PD: Ericson
Navarro)
Masla A Papanok (C: Willie Apa Jr.,
Arnel Barbarona, Bagane Fiola; PD:
Paramata Endawan)
Never Not Love You (C: Mycko David and
Carlo Mauricio; PD: Ana Lou Sanchez)
Oda sa Wala (C: Neil Daza; PD: Maolen Fadul)
BEST SOUND AND AURAL ORCHESTRATION
Never Not Love You (M: Len Calvo; S:
Jason Conanan, Kat Salinas and Mikko
Quizon)
A Short History of a Few Bad Things (M:
Lav Diaz, Duke Caing, Young Kael,
Maricel Sombrio, John Caing, Bombo
Pluto Ova, Stevan Marvin Jamaar,
Silhouette; S: Rico Mambo)
Masla A Papanok (M: Jem Talaroc; S:
Willie Apa Jr.)
Oda sa Wala (music: Richard Gonzales;
sound design: Immanuel Verona)
BEST PERFORMANCE
Nadine Lustre (Never Not Love You)
Perla Bautista (Kung Paano Hinihintay ang
Dapithapon)
Perla Bautista, Menggie Cobarrubias,
Dante Rivero (Kung Paano Hinihintay
ang Dapithapon)
Celeste Legaspi (Mamang)
Ina Raymundo (Kuya Wes)
Marietta Subong (Oda sa Wala)
BEST FIRST FEATURE
Mamang (Denise O’Hara)
Mamu; And a Mother Too (Rod Singh)
Ang Pangarap Kong Holdap (Marius Talampas)
30TH CIRCLE CITATIONS, 2019
BEST FILM
Edward, (Thop Nazareno)
Lingua Franca (Isabel Sandoval)
Verdict (Raymund Ribay Gutierrez)
BEST SCREENPLAY
Edward (Thop Nazareno, John Bedia, and
Denise O’Hara)
Cleaners (Glenn Barit)
Fuccbois (Eduardo Roy, Jr.)
John Denver Trending (Arden Rod Condez)
Lingua Franca (Isabel Sandoval)
Verdict (Raymund Ribay Gutierrez)
BEST EDITING
Verdict (Diego Marx Dobles)
A Is for Agustin (Johnny Bassett)
Cleaners (Noah Loyola and Che Tagyamon)
Edward (JR Cabrera and Thop Nazareno)
For My Alien Friend (Jet Leyco)
Fuccbois (Carlo Francisco Manatad)
John Denver Trending (Benjo Ferrer)
Lingua Franca (Isabel Sandoval)
No Data Plan (Miko Revereza))
BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Lingua Franca (cinematography: Isaac
Banks; production design: Maxwell
Nalevansky and Clint Ramos)
A Is for Agustin (cinematography: Kara
Moreno and Grace Pimentel Simbulan)
Cleaners (cinematography: Steven Evangelio;
production design: Alvin Francisco)
Edward (cinematography: Kara Moreno;
production design: Alvin Francisco)
For My Alien Friend (cinematography: Jet
Leyco)
91
Fuccbois (cinematography: Albert Banzon;
production design: Carmela Danao)
John Denver Trending (cinematography:
Rommel Sales; production design:
Harley Alcasid)
No Data Plan (cinematography: Miko
Revereza)
Verdict (cinematography: Joshua Reyles;
production design: Ryan Faustino)
BEST SOUND AND AURAL ORCHESTRATION
Cleaners (music curation: Glenn Barit;
supervising sound editing: Daryl
Libongco; sound editing: Nicole
Amores, RJ Cantos, Aeriel Ellyzon
Mallari; re-recording mixing: John
Michael Perez)
Edward (original score: Pepe Manikan;
sound design: Russel Gabayeron and
Immanuel Verona)
Fuccbois (original score: Andrew
Florentino; sound design: Immanuel
Verona)
John Denver Trending (original score: Len
Calvo; sound editing: Mikko Quizon;
re-recording mixing: Kathrine Ariane
Salinas)
Lingua Franca (original score: Teresa
Barrozo; sound design: Albert Michael
Idioma)
BEST PERFORMANCE
Isabel Sandoval, Lingua Franca
Louise Abuel, Edward
Royce Cabrera and Kokoy de Santos (duo
performance), Fuccbois
Max Eigenmann and Kristoffer King (duo
performance), Verdict
Gio Gahol, Sila-Sila
Jansen Magpusao, John Denver Trending
BEST FIRST FEATURE
Cleaners (Glenn Barit)
John Denver Trending (Arden Rod Condez)
Verdict (Raymund Ribay Gutierrez)
A Is for Agustin (Grace Pimentel Simbulan)
No Data Plan (Miko Revereza)
31ST CIRCLE CITATIONS, 2020 BEST FIRST FEATURE
Aswang (Alyx Arumpac)
BEST FILM
The Boy Foretold by the Stars (Dolly
Death of Nintendo (Raya Martin)
Dulu)
Kintsugi (Lawrence Fajardo)
Magikland (Christian Acuña)

BEST SCREENPLAY
He Who Is Without Sin (Jason Paul
Laxamana)
Kintsugi (Herlyn Alegre)

BEST EDITING
He Who Is Without Sin (Mai Calapardo)
Death of Nintendo (Cyril Asis)
Kintsugi (Lawrence Fajardo)

BEST CINEMATOGRAPHY
AND VISUAL DESIGN
Death of Nintendo (C: Ante Cheng; PD:
Whammy Alcazaren, Thesa Tang)
The Boy Foretold by the Stars (C: Marvin
Reyes; PD: Lars Magbanua)
Kintsugi (C: Boy Yñiguez; PD: Hai
Balbuena, Rolando Inocencio)

BEST SOUND AND AURAL ORCHESTRATION

Death of Nintendo (M: Yudhi Arfani, Zeke
Khaseli; S: Andrew Sisul, Alec Rubay)
The Boy Foretold by the Stars (M: Jhaye
Cura, Paulo Protacio; S: Pietro Marco
Javier, Jannina Mikaela Minglanilla)
Kintsugi (M: Peter Legaste; S: Lamberto
Casas Jr.)

BEST PERFORMANCE
JC Santos (Kintsugi)
Kim Chloe Oquendo, Noel Comia Jr.,
Jigger Sementilla, John Vincent
Servilla (Death of Nintendo)
Adrian Lindayag and Keann Johnson
(The Boy Foretold by the Stars)
Elijah Canlas (He Who Is Without Sin)
Elijah Canlas and Enzo Pineda (He Who
Is Without Sin)
Phi Palmos (Kintsugi)

92
93
THE CIRCLE
T
he Film Desk of the Young Critics Circle is composed of members of
academe who, through the years, have become attentive observers of
Philippine cinema. Coming from various disciplines, they bring into
the analysis of film an interdisciplinary approach. In this perspective,
the word “young” in the Young Critics Circle pertains not to a literal
mode of understandingas in age but rather to a metaphorical sense of
appropriating youth. “Young” is construed as the daring of the new and
the courage to be different.

A
ng Film Desk ay binubuo ng mga miyembro ng akademya na sa loob
nang matagal-tagal na ring panahon ay naging mga matalas na
tagamasid ng pelikulang Filipino. Galing sa iba’t ibang disiplina,
linalapat nila sa pagsuri ng pelikula ang interdisiplinaryong lapit. Sa
ganitong perspektiba, ang salitang “young” sa Young Critics Circle ay
tumutukoy hindi sa literal na pakahulugan gaya ng edad kundi sa isang
metaporikal na pag-unawa sa kabataang pananaw. Ang ibig sabihin, ang
“young” ay tumutukoy sa pangangahas ng bago at sa giting ng pagsalungat.

Aristotle J. Atienza teaches language, literature, and popular culture at

the Ateneo de Manila University. He is pursuing his Ph.D. in Philippine
Studies at the University of the Philippines Diliman. He is co-editor (with
Rolando B. Tolentino) of Ang Dagling Tagalog, 1903-1936 (2007).

John B. Bengan teaches writing and literature at the University of the

Philippines Mindanao. He received a Ford Foundation International
Fellowship to pursue an MFA in creative writing at The New School. His
stories and essays have appeared in Kritika Kultura, Likhaan: The Journal
of Contemporary Philippine Literature, Asiatic, BooksActually’s Gold
Standard, and the “Writing the Philippines” issue of Cha: An Asian Literary
Journal. He lives in Davao City.

Christian Jil R. Benitez is a faculty member of the Kagawaran ng Filipino,

Ateneo de Manila University, where he graduated with an AB-MA in
Filipino Literature. Hailed as the Poet of the Year 2018, his current critical
engagements primarily move around Philippine time, as perceived
through the tropical, mythological, and material.

Ian Harvey A. Claros is a public school teacher in Manila. He finished his

AB/BSE Literature at the Philippine Normal University. He also teaches
at the Kagawaran ng Filipino in Ateneo de Manila University where he

94
pursues his MA in Literary and Cultural studies. His research work deals
with vernacular (Visayan) interventions in memory and trauma that both
resist and engage with their western construction.

Emerald F. Manlapaz is an Instructor at the Department of Art Studies,

College of Arts and Letters, University of the Philippines Diliman. She
has done research on social memory in Mendiola, on Cinemalaya and
Philippine independent cinema, and for a history of Metro Manila’s
transit system. Her research interests include memory in cinema,
documentary filmmaking, and Philippine film. She is currently studying
for an MA degree in art studies at the College of Arts and Letters, UP
Diliman.

Patrick D. Flores is Professor of Art Studies at the University of the

Philippines, which he chaired from 1997-2003, and Curator of the Vargas
Museum in Manila. He is Adjunct Curator at the National Art Gallery,
Singapore. He was selected by the Philippine government to curate the
Philippine Pavilion of the 56th Venice Art Biennale in 2015. He was also
one of the curators of Under Construction: New Dimensions in Asian Art
in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a
Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999
and an Asian Public Intellectuals Fellow in 2004. Among his publications
are Painting History: Revisions in Philippine Colonial Art (1999),
Remarkable Collection: Art, History, and the National Museum (2006) and
Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of
the Asian Cultural Council (2010) and a member of the Advisory Board
of the exhibition The Global Contemporary: Art Worlds After 1989 (2011)
organized by the Center for Art and Media in Karlsruhe and member of
the Guggenheim Museum’s Asian Art Council (2011). He co-edited the
Southeast Asian issue with Joan Kee for Third Text (2011).

Tessa Maria Guazon is assistant professor at the Art Studies Department,

University of the Philippines Diliman. Her research interests center on
cities and culture, specifically art production in the context of urban
development. She was recently awarded the Asian Public Intellectuals
Fellowship for fieldwork in Thailand and Indonesia in 2014.

Lisa Ito-Tapang (on leave) teaches art history and theory at the
University of the Philippines College of Fine Arts (UP CFA). Her writings
have appeared in Pananaw Philippine Journal of Visual Arts, Forum on
Contemporary Art and Society, Asian Art News and Ctrl+P Journal of

95
Contemporary Art, among others. She co-authored Without Walls: A Tour
of Philippine Paintings at the Turn of the Millennium (2010). She holds
a degree in Fine Arts (Art History) from the UP CFA and is currently
completing a master’s degree in art studies at the UP College of Arts and
Letters.

Jaya Jacobo (on leave) teaches literature, theory and criticism, and
cultural studies in the Departments of English and Filipino at the School
of Humanities of the Ateneo de Manila University in Loyola Heights. She
holds the A.B.-M.A. (2002-2003) in Filipino Literature from the Ateneo
de Manila University, and the M.A. in Comparative Literary and Cultural
Studies (2010) and the Ph.D. in Comparative Literature from the State
University of New York at Stony Brook, which she completed through a
Fulbright Scholarship (2011). She has published scholarly work is keen
on inhabiting the cusp between tropology, particularly the rule and
the resistance of metaphor, and tropicality, argued as a rubric of time.
Jacobo is currently preparing a critical edition of Fruto del Prado’s Bicol
translation (1867) of Modesto de Castro’s Urbana at Feliza (1864), to
be published by the vanguard press of the Ateneo de Naga University.
She is founding co-editor of Queer Southeast Asia: A Literary Journal of
Transgressive Art.

Skilty C. Labastilla teaches social sciences, research, and popular culture

in Ateneo de Manila University. He is also a Research Associate at
Ateneo’s Institute of Philippine Culture, where he is engaged in research
on urban informal settlements, governance, and children and youth. He
holds degrees in Anthropology and Social Development and has taught at
U.P. Diliman, U.P. Mindanao, and La Trobe University. He manages Pinoy
Rebyu, a website dedicated to Philippine cinema.

Nonoy L. Lauzon (on leave) is the Programmer for Screenings at the U.P.
Film Institute. He has double degrees in Philosophy and Humanities
from the University of the Philippines. He is a published film critic and
has previously worked for a number of national newspapers including
the Philippine Journal, People’s Journal and The Manila Times. He used to
contribute a column for the old Mirror Weekly and now regularly writes
for two of the country’s leading national tabloid dailies. He is currently
pursuing an M.A. in Media Studies (Film) at the U.P. College of Mass
Communication.

96
Janus Nolasco is University Researcher at the Asian Center, UP Diliman.
He has a BA in Comparative Literature and an MA in Asian Studies, for
which he specialized on West Asia. His research interests include area
studies, philosophy, political philosophy, Islamic studies, literature, and
needless to say, Philippine popular cinema. A defender of romantic
comedies, he is the author of “Between Philippine Studies and Filipino-
American Studies: The Transpacific as Area and the Transformation of
Area Studies in the 21st Century,” published in Suvannabhumi: Multi-
Disciplinary Journal of Southeast Asian Studies (2018). His analysis of
‘English, Only Please’ and essay on Pinoy Action Movies appeared in the
Kyoto Review of Southeast Asia. He has also contributed to New Mandala.

Jema Pamintuan (on leave) obtained her PhD in Philippine Studies

from UP Diliman, and is a former Assistant Professor at the School of
Humanities, Ateneo de Manila University. She was a recipient of the
Elisabeth Luce Moore Award for Outstanding Fellow (2012-2014) under
the United Board Fellows Program in Asia for her research and work as
a visiting fellow at Tunghai University, Taiwan (2013), and Georgetown
University, USA (2014).

Tito R. Quiling Jr. (Chair, 2021-2022) earned a master’s degree in Media

Studies (Film) from the University of the Philippines Diliman. He
has received fellowships for national workshops in creative writing,
scriptwriting, and arts criticism. His works have been published in
Unitas, Tómas, Humanities Diliman, Plaridel Journal of Communication,
Media, and Society, NANG Magazine, among others. He is currently a PhD
student at the School of Media, Film, and Journalism at the Faculty of
Arts, Monash University. His research and writing interests center on the
intersections of cinema, literature, heritage, architecture, and the city.

Judith Camille Rosette is currently taking MA Art Studies, major in Art

Theory and Criticism at the University of the Philippines Diliman. She
had previously lectured on art theory and art history at the De La Salle
– College of Saint Benilde Manila. Her research interests include design
history and design studies.

Jaime Oscar M. Salazar is a graduate student of the Department of Art

Studies at the University of the Philippines Diliman. He has received
fellowships to national workshops on criticism, and his writing has
appeared in academic and popular venues. He is part of the research
team of the recently launched TutoK Freedom of Expression (FoE), a

97
social network and online platform for collaborative art production
and educational discussions on art. TutoK FoE is a project of TutoK, an
artists’ initiative. He currently works for an international humanitarian
organization.

Louise Jashil R. Sonido teaches at the University of the Philippines

Department of English and Comparative Literature. As a teacher, scholar,
multimedia artist, and cultural worker, she has a range of research
interests transecting literary criticism, intellectual historiography, media
and film scholarship, performance curation, and ethnographies of
multimedia production. She is a member of the Congress of Teachers and
Educators for Nationalism and Democracy (CONTEND-UP), the Concerned
Artists of the Philippines, and the Performance Curators Initiatives.

Cristian Tablazon works with video and other photo-based media,

installation, and text. He is a recipient of several national fellowships
in creative writing and cultural criticism, and his works have been
published and exhibited in 14 countries. His writings have appeared in
Quarterly Literary Review Singapore, Kritika Kultura, Asian Journal of
Culture, Literature and Society, Social Science Diliman, High Chair, hal.,
and Kilómetro 111: Ensayos sobre cine, among others. He runs Nomina
Nuda, a small nonprofit independent platform and exhibition space in
Los Baños, Laguna, and works as a resident instructor and program
coordinator at the Philippine High School for the Arts. His research
interests include memory and autobiography in moving-image practices,
low-resolution imagery, place and space in cinema, transportation
and mobility in East and Southeast Asian horror films, and spaces of
spectrality and representations of trauma in visual media.

Andrea Anne I. Trinidad (Chair, 2022-2023) obtained her AB-MA Filipino

Literature degree from Ateneo de Manila University. She currently
teaches as an instructor in the Department of Filipino, School of
Humanities at the same university for courses in Literature and Popular
Culture. Her academic interests include Fan Studies and Popular
Romance.

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THE 32nd ANNUAL CIRCLE CITATIONS FOR DISTINGUISHED
ACHIEVEMENT IN FILM FOR 2021 IS PRESENTED IN COOPERATION WITH

Young Critics Circle Film Desk

UP Diliman Office Initiatives in Culture and the Arts
UP College of Arts and Letters

ACKNOWLEDGEMENTS
The Film Desk of the Young Critics Circle and the UP Vargas Museum
would like to thank the following for all the support:

Department of Art Studies, UP College of Arts and Letters

Department of English and Comparative Literature, UP College of Arts
and Letters
Department of Theory, UP College of Fine Arts
Kagawaran ng Filipino, Pamantasang Ateneo de Manila
Department of Humanities, College of Humanities and Social Science, UP
Mindanao
Department of Communication and Media Studies, UST Faculty of Arts
and Letters
Philippine High School for the Arts
Dr. Cecille De La Paz (UPD-OICA)
Malou Arandia (UPD-OICA)
R. Jordan P. Santos
Awards Central Philippines
YZA Coloured Printing
and
all YCC friends from the media, academe, and the arts

Film Desk of the Young Critics Circle, Current Members: Aristotle J.

Atienza, Christian Jil R. Benitez, Ian Harvey A. Claros, Emerald Flaviano
Manlapaz, Patrick D. Flores, Tessa Maria T. Guazon, Lisa Ito-Tapang, J.
Pilapil Jacobo, Skilty C. Labastilla, Nonoy L. Lauzon, Janus Isaac Nolasco,
Jema M. Pamintuan, Tito R. Quiling Jr., Judith Camille Rosette, Jaime Oscar
M. Salazar, Louise Jashil R. Sonido, Cristian Tablazon, Andrea Anne I.
Trinidad.
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Film Desk of the Young Critics Circle, Former Members: Romulo P.
Baquiran, Jr., Melissa Contreras, Flaudette May V. Datuin, Joel David, Mike
Feria, Noel D. Ferrer, Eulalio R. Guieb III, Eloisa May P. Hernandez, Eileen
C. Legaspi-Ramirez, Gerard R. A. Lico, JPaul S. Manzanilla, Charlson Ong,
James Rañeses, Jerry C. Respeto, Clare Salaveria, Neil Martial R. Santillan,
Ariel N. Valerio, Ailyn A. Villamarin, Galileo S. Zafra, Choy Pangilinan.

Presidents, Young Critics Circle: Galileo S. Zafra (1996-1997); Romulo

P. Baquiran, Jr. (1997-1998); Ariel N. Valerio (1998-1999); Noel D. Ferrer
(1999-2000); Flaudette May V. Datuin (2000-2001); Patrick D. Flores (2001-
2002); Nonoy L. Lauzon (2002-2003); Jerry C. Respeto (2003-2004); Neil
Martial R. Santillan (2004-2005); Eileen Legaspi-Ramirez (2005-2006);
Patrick D. Flores (2006-2007); Romulo P. Baquiran, Jr. (2007-2008); Galileo
S. Zafra (2008-2009); J Pilapil Jacobo (2009-2010); Eulalio R. Guieb III
(2010-2011); Eloisa May P. Hernandez (2011-2012); Tessa Maria T. Guazon
(2012-2013); Skilty C. Labastilla (2013-2014); Jaime Oscar M. Salazar (2014-
2015); Aristotle J. Atienza (2015-2016); Jema M. Pamintuan (2016-2017);
Lisa Ito-Tapang (2017-2018); Emerald O. Flaviano (2018-2019); Christian
Jil R. Benitez (2019-2020); John B. Bengan (2020-2021); Tito R. Quiling Jr.
(2021-2022); Andrea Anne I. Trinidad (2022-2023).

Keynote Speakers, Annual Circle Citations for Distinguished

Achievement in Film: Soledad S. Reyes (1990); Petronilo Bn. Daroy (1995);
Justino Dormiendo (1996); Benilda Santos (1997); Ma. Luisa F. Torres Reyes
(1998); Alice G. Guillermo (1999); Teresita Gimenez-Maceda (2000); Brenda
V. Fajardo (2001); Basilio Esteban Villaruz (2002); Albina P. Fernandez
(2003); Ramon P. Santos (2004); Virgilio S. Almario (2005); Eufracio C. Abaya
(2006); Lilia Quindoza Santiago (2007); Nick Deocampo (2008); Tito Genova
Valiente (2009); Oscar V. Campomanes (2010); Glecy Atienza (2011); Ricardo
Abad (2012); Francis Gealogo (2013); Elizabeth L. Enriquez (2016); Zosimo
Lee (2017); Jazmin B. Llana (2018); Joseph Palis (2019); Jozon A. Lorenzana
(2020); Michiyo Yoneno-Reyes (2021); Amihan Bonifacio-Ramolete (2022).

Founding Members, Young Critics Circle: Mike Feria, Film and Theater
Desks; Joy Barrios, Theater Desk; Jojo Buenconsejo, Dance Desk; Eric
Caruncho, Music Desk; Melissa Contreras, Film and Theater Desks; Jaime
Daroy, Music Desk; Joel David, Film Desk; Gin de Mesa, Visual Arts Desk;
Patrick D. Flores, Film, Theater and Broadcast Arts Desks; Francine Y.
Medina, Visual Arts Desk; Charlson Ong, Film and Literature Desks;
Mozart A. T. Pastrano, Theater Desk; Danilo Reyes, Literature Desk;
Antonio Tinio, Literature Desk.

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