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over 5 years ago

Post any subject or matter regarding Filipinos, Philippines, Tagalog Films. Please give Philippine cinema a chance to be heard and /or seen out in the open. Salamat! Here’s a little history from “”

History of Philippine Cinema

INTRODUCTION The youngest of the Philippine arts, film has evolved to become the most popular of all the art forms. Introduced only in 1897, films have ranged from silent movies to talkies; black and white to color. Outpacing its predecessors by gaining public acceptance, from one end of the country to the other, its viewers come from all walks of life. Nationwide, there are more than 1000 movie theaters. Early in the 1980s, it was estimated in Metro Manila alone, there were around 2.5 million moviegoers. As an art form, it reflects the culture and the beliefs of the people it caters to and most times, is the one who shapes their consciousness. Philippine film as discussed in this paper includes films made by Filipino people exhibited in this country and possibly in other countries from the 1930s to the 1990s. The films may be silent pictures or talkies, black and white or color. They also include films such as documentaries, animation, experimental or alternative films and other types of films. This paper has three purposes or objectives. It intends, first of all, to provide a comprehensible background of the art of film in the Philippines. It provides insights on how the Philippine film has influenced Philippine culture and vice-versa. This is done by documenting the important events and important films in the area of film for the past ninety years. Second, it intends to explain the different trends and styles common in the Philippine film. And finally, it concludes with an analysis on how two important events in history, namely World War II and Martial Law altered the course of contemporary Philippine film. However, this paper is limited to films only from the particular time period of the 1930s to the 1990s. It fails to give a picture of how films were like ever since it started in 1897. This paper is also severely limited due to the unavailability and the lack of materials that discuss thoroughly the history of Philippine film. Film materials for those made during the pre-WWII years are simply non-existent. Data for this paper was gathered from the essays and reviews written by the artists and the critics themselves. It goes without saying that the resources were tested to the limits.


I. The 1930s to 1940s

A. Early Philippine Films

Filipinos started making movies in 1919. However, it would be important to know that the film industry in the Philippines began through the initiative of foreign entrepreneurs. Two Swiss entrepreneurs introduced film shows in Manila as early as 1897, regaling audiences with documentary films lips showing recent events and natural calamities in Europe. Not only that but the arrival of the silent films, along with American colonialism, in 1903 created a movie market. But these film clips were still novelties. They failed to hold the audiences’ attention because of their novelty and the fact that they were about foreigners. When two American entrepreneurs made a film in 1912 about Jose Rizal’s execution, the sensation they made it clear that the Filipino’s need for material close to their hearts. This heralded the making of the first Filipino film. The credit of being the first Filipino to make a film goes to Jose Nepumuceno, whom historians dub as the “Father of Philippine Movies”. Nepumuceno’s first film was based on a highly-acclaimed musical play of that day, Dalagang Bukid (Country Maiden) by Hemogenes Ilagan and Leon Ignacio. In those early years of filmmaking, enormous capital was needed to keep up with the Hollywood industry. Despite its weak points, Hollywood provided the Philippine film industry with examples that the early filmmakers followed. It is not surprising that many of those same genres set so many years ago still appear in contemporary Philippine films. But it was difficult to match Hollywood style in those days with the meager capital set aside for the developing film industry. Ironically, the same people who helped the film industry develop as a form of expression were the same ones who suppressed this expression. Early film producers included “wealthy Spaniards”, American businessmen and Filipino landlords and politicians. It is not surprising that…pre-war Philippine movies…were inhibited from expressing their views that might question the establishment and were encouraged instead to portray the love and reconciliation between members of different classes… Starting with Dalagang Bukid, early films dug into traditional theater forms for character types , twists and turns in the plot, familiar themes and conventions in acting. This set the trend of Philippine films based entirely on immensely popular dramas or sarswelas . Besides providing ready materials, this device of using theater pieces ensured an already existing market. From the komedya of the sarswela, the typical Filipino aksyon movie was to develop. The line dividing the good and the bad in the komedya was religion with the Christians being the good and the Moors representing the bad. In present movies, the line that divides the two is now law or class division. The sinakulo or the passion play was the root of the conventional Filipino melodrama. The Virgin Mary became the “all-suffering, all-forgiving Filipino Mother” and Jesus was the “savior of societies under threat and the redeemer of all those who have gone wrong”. Another source of movie themes was Philippine literature. Francisco Baltazar and Jose Rizal, through the classics for which they were famous, have given the industry situations and character types that continue to this day to give meat to films both great and mediocre. Finally, by the 1930s, a few film artists and producers dared to stray from the guidelines and commented on sociopolitical issues, using contemporary or historical matter. Director, actor, writer and producer Julian Manansala’s film Patria Amore (Beloved Country) was almost suppressed because of its anti-Spanish sentiments. This earned him the honor of being dubbed the “Father of the Nationalistic Film”. Its own share of movie audience and acclaim for local movie stars were signs that the movie industry from 1919 to the 1930s had succeeded. Despite the competition coming from Hollywood, the film industry thrived and flourished. When the 1930s came to a close, it was clear that moviegoing had established itself in the Filipino.

B. Wartime Films and the Effect on Philippine Films

The Japanese Occupation introduced a new player to the film industry – the Japanese; and a new role for film – propaganda : “The Pacific War brought havoc to the industry in 1941. The Japanese invasion put a halt to film activity when the invaders commandeered precious film equipment for their own propaganda needs. The Japanese brought their own films to show to Filipino audiences.” The films the Japanese brought failed to appeal to audiences the same way the Hollywood-made movies or the locally-made films did. Later on, Japanese propaganda offices hired several local filmmakers to make propaganda pictures for them. One of these filmmakers was Gerardo de Leon. The war years during the first half of the Forties virtually halted filmmaking activities save for propaganda work that extolled Filipino-Japanese friendship, such as The Dawn of Freedom made by director Abe Yutaka and associate director Gerardo de Leon…Less propagandistic was Tatlong Maria (Three Marias), directed in 1944, by Gerardo de Leon and written for the screen by Tsutomu Sawamura from Jose Esperanza Cruz’s novel…Despite the destruction and hardships of the war, the people…found time for entertainment; and when movies were not being made or imported…they turned to live theater…which provided alternative jobs for displaced movie folk. The war years may have been the darkest in film history…” This period turned out to be quite beneficial to the theater industry. Live theater began to flourish again as movie stars, directors and technicians returned to the stage. Many found it as a way to keep them from being forgotten and at the same time a way to earn a living. In 1945…the film industry was already staggering to its feet. The entire nation had gone through hell and there were many stories to tell about heroic deeds and dastardly crimes during the 3 years of Japanese occupation. A Philippine version of the war movie had emerged as a genre in which were recreated narratives of horror and heroism with soldiers and guerillas as protagonists…audiences still hungry for new movies and still fired up by the patriotism and hatred for foreign enemies did not seem to tire of recalling their experiences of war. Movies such as Garrison 13 (1946), Dugo ng Bayan (The Country’s Blood, 1946), Walang Kamatayan (Deathless, 1946), and Guerilyera (1946) , told the people the stories they wanted to hear: the heroes and the villains of the war. The war, however, had left other traces that were less obvious than war movies that were distinctly Filipino. As Patronilo BN. Daroy said in his essay Main Currents in Filipino Cinema: “World War II left its scars on the Filipino’s imagination and heightened his sense of reality…”


II. The 1950s to 1970s

A. The Golden Age of Philippine Films

The 1950s were considered a time of “rebuilding and growth”. But remnants from the preceding decade of the 40s remained in the form of war-induced reality. This is seen is Lamberto Avellana’s Anak Dalita (The Ruins, 1956), the stark tragedy of post-WWII survival set in Intramuros. The decade saw frenetic activity in the film industry which yielded what might be regarded as the first harvest of distinguished films by Filipinos. Two studios before the war, namely Sampaguita Pictures and LVN, reestablished themselves. Bouncing back quickly, they churned out movie after movie to make up for the drought of films caused by the war. Another studio, Premiere Productions, was earning a reputation for “the vigor and the freshness” of some of its films. This was the period of the “Big Four” when the industry operated under the studio system. Each studio (Sampaguita, LVN, Premiere and Lebran) had its own set of stars, technicians and directors, all lined up for a sequence of movie after movie every year therefore maintaining a monopoly of the industry. The system assured moviegoers a variety of fare for a whole year and allowed stars and directors to improve their skills. Critics now clarify that the 50s may be considered one “Golden Age” for the Filipino film not because film content had improved but because cinematic techniques achieved an artistic breakthrough in that decade. This new consciousness was further developed by local and international awards that were established in that decade. Awards were first instituted that decade. First, the Manila Times Publishing Co. set up the Maria Clara Awards. In 1952, the FAMAS (Filipino Academy of Movie Arts and Sciences) Awards were handed out. More so, Filipino films started garnering awards in international film festivals. One such honor was bestowed on Manuel Conde’s immortal movie Genghis Khan (1952) when it was accepted for screening at the Venice Film Festival. Other honors include awards for movies like Gerardo de Leon’s Ifugao (1954) and Lamberto Avellana’s Anak Dalita. This established the Philippines as a major filmmaking center in Asia. These awards also had the effect of finally garnering for Filipino films their share of attention from fellow Filipinos.

B. The Decline of Philippine Film

If the 1950s were an ubiquitous period for film, the decade that followed was a time of decline. There was “rampant commercialism and artistic decline” as portrayed on the following: In the 1960s, the foreign films that were raking in a lot of income were action pictures sensationalizing violence and soft core sex films hitherto banned from Philippine theater screens, Italian “spaghetti” Westerns, American James Bond-type thrillers, Chinese/Japanese martial arts films and European sex melodramas. To…get an audience to watch their films, (the independent) producers had to take their cue from these imports. The result is a plethora of films…giving rise to such curiosities as Filipino samurai and kung fu masters, Filipino James Bonds and…the bomba queen. The studio systems came under siege from the growing labor movement which resulted in labor-management conflicts. The first studio to close was Lebran followed by Premiere Productions. Next came Sampaguita and LVN. The “Big Four” studios were replaced by new and independent producers who soon made up the rest of the film industry. The decade also saw the emergence of the youth revolt best represented by the Beatles and the rock and roll revolution. They embodied the wanting to rebel against adult institutions and establishments. Certain new film genres were conceived just to cater to this “revolt”. Fan movies such as those of the “Tita and Pancho” and “Nida and Nestor” romantic pairings of the 50s were the forerunners of a new kind of revolution – the “teen love team” revolution. “Nora Aunor and Vilma Santos, along with Tirso Cruz III and Eddie Mortiz as their respective screen sweethearts, were callow performers during the heyday of fan movies. Young audiences made up of vociferous partisans for ‘Guy and Pip’ or ‘Vi and Bot’ were in search of role models who could take the place of elders the youth revolt had taught them to distrust” Another kind of youth revolt came in the form of the child star. Roberta (1951) of Sampaguita Pictures was the phenomenal example of the drawing power of movies featuring [these] child stars. In the 60s this seemed to imply rejection of “adult corruption” as exposed by childhood innocence. The film genres of the time were direct reflections of the “disaffection with the status quo” at the time. Action movies with Pinoy cowboys and secret agents as the movers of the plots depicted a “society ravaged by criminality and corruption” . Movies being make-believe worlds at times connect that make-believe with the social realities. These movies suggest a search for heroes capable of delivering us from hated bureaucrats, warlords and villains of our society. The action films of the 1960s brought into the industry “ a new savage rhythm that made earlier action films seem polite and stage managed.” The pacing of the new action films were fast as the narrative had been pared down to the very minimum of dialogues. And in keeping up with the Hollywood tradition, the action sequences were even more realistic. Another film genre that is perhaps also a embodiment of the revolt of the time is the bomba genre. Probably the most notorious of all, this genre appeared at the close of the decade. Interestingly, it came at a time when social movement became acknowledged beyond the walls of campuses and of Manila. In rallies, demonstrations and other forms of mass action, the national democratic movement presented its analysis of the problems of Philippine society and posited that only a social revolution could bring genuine change. The bomba film was a direct challenge to the conventions and the norms of conduct of status quo, a rejection of authority of institutions in regulating the “life urge” seen as natural and its free expression “honest” and “therapeutic” Looking beyond the obvious reasons as to the emergence of the bomba film, both as being an exploitative product of a profit-driven industry and as being a “stimulant”, it can be analyzed as actually being a “subversive genre”, playing up to the establishment while rebelling and undermining support for the institutions. Even in the period of decline, genius has a way of showing itself. Several Philippine films that stood out in this particular era were Gerardo de Leon’s Noli Me Tangere (Touch me Not, 1961) and El Filibusterismo (Subversion, 1962). Two other films by Gerardo de Leon made during this period is worth mentioning – Huwag mo Akong Limutin (Never Forget Me , 1960) and Kadenang Putik (Chain of Mud, 1960), both tales of marital infidelity but told with insight and cinematic import.

C. Films during Martial Law

In the 60s, the youth clamored for change in the status quo. Being in power, Ferdinand Marcos answered the youth by placing the nation under martial rule. In 1972, he sought to contain growing unrest which the youth revolt of the 1960s fueled. Claiming that all he wanted was to “save the Republic”, Marcos retooled the liberal-democratic political system into an authoritarian government which concentrated power in a dictators hand. To win the population over, mass media was enlisted in the service of the New Society. Film was a key component of a society wracked with contradictions within the ruling class and between the sociopolitical elite and the masses. In terms of comparisons, the Old Society (or the years before Martial Law) became the leading symbol for all things bad and repugnant. The New Society was supposed to represent everything good – a new sense of discipline, uprightness and love of country Accordingly, the ideology of the New Society was incorporated into local films. …Marcos and his technocrats sought to regulate filmmaking. The first step was to control the content of movies by insisting on some form of censorship. One of the first rules promulgated by the Board of Censors for Motion Pictures (BCMP) stipulated submission of a finished script prior to the start of filming. When the annual film festival was revived, the censors blatantly insisted that the “ideology” of the New Society be incorporated into the content of the entries. The government tried to control the film industry while keeping it in “good humor” – necessary so that the government could continue using film as propagandistic vehicles. So despite the censors, the exploitation of sex and violence onscreen continued to assert itself. Under martial law, action films depicting shoot outs and sadistic fistfights ( which were as violent as ever) usually append to the ending an epilogue claiming that the social realities depicted had been wiped out with the establishment of the New Society. The notorious genre of sex or bomba films that appeared in the preceding decade were now tagged as “bold” films, simply meaning that a lot more care was given to the costumes. Martial Law declared in 1972 clamped down on bomba films as well as political movies critical of the Marcos administration. But the audience’s taste for sex and nudity had already been whetted. Producers cashed in on the new type of bomba, which showed female stars swimming in their underwear, taking a bath in their camison (chemise), or being chased and raped in a river, sea, or under a waterfall. Such movies were called the wet look… One such movie was the talked-about Ang Pinakamagandang Hayop sa Balat ng Lupa (The Most Beautiful Animal on the Face of the Earth, 1974) starring former Miss Universe Gloria Diaz. However, the less-than-encouraging environment of the 70s gave way to “the ascendancy of young directors who entered the industry in the late years of the previous decade…” Directors such as Lino Brocka, best remembered for his Maynila, Sa Mga Kuko ng Liwanag (Manila, In the Claws of Neon Lights, 1975), Ishmael Bernal, director of the Nora Aunor film Himala (Miracle, 1982) and Celso Ad. Castillo, whose daring works portrayed revolt, labor unionism, social ostracism and class division, produced works that left no doubt about their talent in weaving a tale behind the camera. Another welcomed result that came from martial rule was the requirement of a script prior to filming. This was an innovation to a film industry that made a tradition out of improvising a screenplay. Although compliance with the requirement necessarily meant curtailment of the right of free expression, the BCMP, in effect caused the film industry to pay attention to the content of a projected film production in so far as such is printed in a finished screenplay. In doing so, talents in literature found their way into filmmaking and continue to do so now.


III. The 1980s to the present

A. Philippine Films after Marcos

It can be justified that immediately after Marcos escaped to Hawaii, films portraying the Philippine setting have had a serious bias against the former dictator. And even while he was in power, the militancy of filmmakers opposing the Martial Law government especially after the assassination of Ninoy Aquino in 1983, accounts for the defiant stance of a number of films made in the closing years of the Marcos rule. Films such as Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Gripping the Knife’s Edge, 1985) were defiant, not in the sense of it being openly stated by in the images of torture, incarceration, struggle and oppression. Marilou Diaz-Abaya’s Karnal (1984) depicts this in a different way in the film’s plot wherein patricide ends a tyrannical father’s domination. Mike de Leon’s Sister Stella L. (1984), was a typical de Leon treatment of the theme of oppression and tyranny. In 1977, an unknown Filipino filmmaker going by the name of Kidlat Tahimik made a film called Mababangong Bangungot (Perfumed Nightmare). The film won the International Critic’s Prize in the Berlin Film Festival that same year. Kidlat Tahimik’s rise to fame defined the distance between mainstream cinema and what is now known as independent cinema. Beginning with Tahimik, independent cinema and films became an accomplished part of Philippine film. Out of short film festivals sponsored by the University of the Philippines Film Center and by the Experimental Cinema of the Philippines, young filmmakers have joined Kidlat Tahimik in the production of movies that, by their refusal to kowtow to the traditions and conventions of mainstream filmmaking, signify faith in works that try to probe deeper into the human being and into society. Nick Deocampo’s Oliver (1983) and Raymond Red’s Ang Magpakailanman (The Eternal, 1983) have received attention in festivals abroad. Filmmakers like Tahimik, Deocampo and Red are examples of what we call “alternative filmmakers”. Alternative or independent filmmakers are products of film schools where students are exposed to art films without “the compromises of commercial filmmaking”.

B. Contemporary Philippine Film

Despite our completion of 100 years of cinema in the Philippines, the same problems plague us now just as it had when film was still a relatively new art form. The phrase “poorly made” is fitting to describe the quality of films being churned out by the film industry year by year. There have been few exceptions to the rule. Presently, films are primarily made for profit, lacking any qualities to redeem itself. Studies show that Hollywood films, with its high technology and subject matter, are being preferred over local films. It is no wonder – for films now are “too profit-oriented…[with] corrupting morals and…dubious values…sticking with formulaic films” Genres that have been present for the past few decades are being recycled over and over again with the same stories. The teen love teams of the fan movie are still present with incarnations of love teams of yesteryears. Now instead of “Guy and Pip” are “Judy and Wowie”. The bomba film is still present, now having grown more pornographic and taboo. The film Tatlo (1998) comes to mind with its subject matter of threesomes. In Filipino slapstick or komedya, Dolphy has been replaced by younger stars. But even if the films of today have not been quite up to par, “Filipino movies…wields an influence over the national imagination far more intense that all the others combined.”


The early years of Philippine film, starting from the 1930s, were a time of discovering film as it was at that time still a new art form. Stories for films came from the theater and popular literature being, as they were, “safe”, with the filmmaker being assured of its appeal. Nationalistic films were also in vogue despite early restrictions on films being too subversive. The 1940s and the war brought to Philippine film the consciousness of reality which was not present in the preceding films. Filmmakers dared to venture into the genre of the war movie. This was also a ready market especially after the war. The 1950s were the Golden Years, a time when films matured and became more “artistic”. The studio system, though producing film after film and venturing into every known genre, made the film industry into a monopoly that prevented the development of independent cinema. The 1960s, though a time of positive changes, brought about an artistic decline in films. The notorious genre of bomba was introduced and from that day forward has been present in the Philippine film scene ever since. The 1970s and 1980s were turbulent years, bringing positive and negative changes. From the decline in the 60s, films in this period now dealt with more serious topics following the chaos of the Marcos regime. Also, action and sex films developed further introducing more explicit pictures. These years also brought the arrival of alternative cinema in the Philippines. Presently, in the 1990s, we are seemingly engaged in a vicious cycle – of genres, plots, characterization and cinematic styles. We are unconsciously, or rather consciously, imitating, copying from the much more popular American films. And when we are not copying, we are reverting back to the same old styles. From the massacre movies of late, the teen-oriented romantic-comedies and the anatomy-baring sex flicks which are currently so popular, it seems Philippine cinema is on a down spiral. Still, some films been successes and not only financially. Diaz-Abaya’s Rizal (1998), as an example, was a success both commercially and critically. Hopefully, Philippine cinema in the new millennium would produce films as good and better than the ones before it. As a conclusion, here is what Patronilo BN. Daroy had to say about the Philippine film industry: Philippine cinema, in short, appears to have reached full circle: it is at the stage of refining and formulating its own conventions and, in the process, getting in close contact with the ferment in the other arts and at the same time, the serious critical attention and concern of people with a broader interest in culture. This is inevitable; as an art form the cinema in the Philippines can no longer remain isolated from the main current of sensibilities and ideas that shape other artistic forms, such as literature, painting, the theater, etc. Neither can it fly from the actuality of social life which, after all, is the source of all artistic expression. I foresee, therefore, a hand towards more serious cinema; the muckrakers will continue, but they will be exposed for what they are and will no longer be definitive of the quality of Filipino films.


over 5 years ago

Lav Diaz

Clarice the Specter

over 5 years ago

I hate to admit it, but the only Filipino director I am aware that I am aware of is Brillante Mendoza.
This is a good post, hopefully we can keep it up.


over 5 years ago

Beneezy, that was an excellent discourse on a neglected region of film history. The entire extent of my exposure to Philippine cinema is limited to some really bad John Ashley horror films from the late sixties or early seventies. Looks like I have some make-up homework to do. Nice Job.


over 5 years ago

Brillante Mendoza Filmography

  1. Lola (2009/I)
  2. Kinatay (2009)
    … aka Butchered (Philippines: English title: literal title)
    … aka The Execution of P (International: English title)
  3. Serbis (2008) (as Brillante Ma. Mendoza)
    … aka Serbis (France)
    … aka Service (International: English title)
  4. Tirador (2007/I)
    … aka Slingshot (International: English title)
  5. Foster Child (2007)
  6. Pantasya (2007) (as Dante Mendoza)
  7. Manoro (2006)
    … aka Manoro (Philippines: English title)
    … aka Manoro: Aeta Teacher (Philippines: English title)
    … aka The Teacher (International: English title)
  8. Kaleldo (2006)
    … aka Summer Heat (International: English title)
  9. Masahista (2005)
    … aka The Masseur (International: English title) (New Zealand: English title: festival title) (Philippines: English title) (USA)

Raya Martin Filmography

  1. Manila (2009)
  2. Independencia (2009)
  3. Next Attraction (2008)
  4. Now Showing (2008)
  5. Autohystoria (2007)
  6. Love Live Philippine Cinema! (2007)
  7. Life Projections (2006)
  8. No pongso do tedted no mondo: Ang isla sa dulo ng mundo (2005)
    … aka Isla (Philippines: Tagalog title: informal short title)
    … aka The Island at the End of the World (International: English title)
  9. Maicling pelicula nañg ysañg Indio Nacional (2005)
    … aka A Short Film About the Indio Nacional (International: English title)
    … aka A Short Film About the Indio Nacional (or the Prolonged Sorrow of the Filipinos) (International: English title: complete title)
    … aka Maicling pelicula nañg ysañg Indio Nacional (O ang mahabang kalungkutan ng katagalugan) (Philippines: Tagalog title: complete title)
  10. Bakasyon (2004)
    … aka The Visit (International: English title)


over 5 years ago


Thanks! I bet that you are not the only one with a very limited exposure towards the Philippine cinema. Even myself is included. To be honest, I have never seen any of Diaz’s films or any other films of Filipino filmmakers here on the Auteurs. I just want this “UNKNOWN SUBJECT” to be “KNOWN.”


over 5 years ago

Here’s film critic Noel Vera’s subjective but very interesting list of the 100 best Filipino films:

48 Oras (48 Hours, 1950) – Gerardo de Leon’s great noir, about a man who has 48 hours to find the men who wronged him, before a bullet in his chest reaches his heart.

Aliw (Pleasure, 1979) – Ishmael Bernal’s caustic drama about kept mistresses.

Aliwan Paradise (Pleasure Paradise, 1993) – Mike de Leon’s satire on the future of the Philippines and on Filipino game shows. Part of the omnibus film Southern Winds.

Anak Dalita (The Ruins, 1956) – Lamberto Avellana’s neorealist drama about a man forced to participate in a smuggling ring, set in the postwar ruins of Manila.

Ang Alamat ni Julian Makabayan (The Legend of Julian Makabayan, 1979) – Celso Ad. Castillo’s film about villagers retelling the story of their hero and the revolt he waged in the countryside.

Ang Magpakailanman (Eternity, 1983) – Golden Palm winner Raymond Red’s masterpiece, about the surreal and at times nightmarish adventures of a young man.

Ang Maikling Buhay ng Apoy, Act 2, Scene 2: Suring at ang Kuk-ok (The Brief Life of Fire, Act 2, Scene 2: Suring and the Kuk-ok, 1997) – Auraeus Solito’s magical animated short, about a young girl and her mythological friend

Ang Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros, 2005) – Auraeus Solito and writer Michiko Yamamoto’s affectionate portrait of a gay boy in love with an idealistic policeman.

Ang Tatay Kong Nanay (My Father the Mother, 1978) – Dolphy gives the performance of his career in Lino Brocka’s film about a gay man raising a child.

Angela Markado (1980) – Lino Brocka noir about a woman who wreaks vengeance upon her rapists.

Asedillo (1971) – Celso Ad. Castillo’s gracefully proportioned action drama about a schoolteacher turned rebel leader. Cemented Filipino action star Fernando Poe Jr.’s persona as a champion of the poor and oppressed.

Babae sa Breakwater (Woman of the Breakwater, 2004) – Mario O’Hara’s occasionally pungent, occasionally picaresque tale of two brothers and a young woman clinging literally to the edge of the city of Manila.

Babae sa Bubungang Lata (Woman on a Tin Roof, 1998) – Mario O’Hara’s loving elegy to the glory that was once Philippine cinema, and scathing condemnation of the business it has since become.

Bagong Bayani (The Last Wish, 1995) – Tikoy Aguiluz’s masterpiece, a great docudrama about Flor Contemplacion, the domestic helper executed (wrongfully, some say) by the Singaporean government for the murder of a fellow Filipina.

Bagong Hari (The New King, 1986) – Mario O’Hara’s great noir epic, about an assassin hired then betrayed by his powerful political bosses.

Bakit Bughaw ang Langit? (Why is the Sky Blue? 1981) – Mario O’Hara’s poignant drama about the friendship between a young woman and a retarded man.

Batang West Side (West Side Avenue, 2001) – Lav Diaz’s masterpiece, a five-hour film about an investigation into a young man’s murder that gradually expands to become an investigation into the Filipino-American community.

Batch ‘81 (1982) – Mike de Leon’s film turns the fraternity into a metaphor for the fascist Marcos regime.

Bayan Ko (My Country, 1985) – Lino Brocka’s drama about labor unrest.
Bayani (Hero, 1992) – Raymond Red’s beautifully photographed film about the 1898 revolution.

Bayaning Third World (Third World Hero, 2000) – Mike de Leon’s brilliant Rizal film about the impossibility of making a Rizal film.

Bilanggo sa Dilim (Prisoner in the Dark, 1987) – Mike de Leon’s only video feature to date, a personalized adaptation of John Fowles’ chilling The Collector.

Biyaya ng Lupa (Blessings of the Land, 1959) – One of the most perfect Filipino films ever made, Manuel Silos’ masterpiece about the lives of farmers and the changing of seasons, and lanzones—bushel after bushel of the ripest, juiciest, sweetest-looking lanzones you ever did see, enough to make your mouth water three times over.

Boatman (1984) – Tikoy Aguiluz’s intense documentarylike drama about live sex performers.

Bona (1980) – Lino Brocka’s valentine to movie love, about a young woman who chooses to become housemaid to an aspiring actor.

Broken Marriage (1983) – Ishmael Bernal’s Naruselike drama about a failing marriage

Bulaklak ng City Jail (Flowers of the City Jail, 1985) – Mario O’Hara’s noir melodrama about a pregnant woman in the Manila City Jail.

Burlesk Queen (Burlesque Queen, 1977) – Celso Ad. Castillo’s lyrical masterpiece, ostensibly about the dying art of burlesque, but really about the beauty of all things worn-out and ravished.

City After Dark (1980) – Ishmael Bernal’s masterpiece, an epic multi-narrative tale about the underbelly of Manila.

Condemned (1984) – One of the most perfect Filipino noir thrillers ever made, about a brother and sister struggling to survive on the streets of Manila.

Ebolusyon ng Isang Pamilyang Pilipino (Evolution of a Filipino Family, 2004)- Lav Diaz’s 11 hour epic, about families living through recent Filipino history.

El Filibusterismo (The Filibuster, 1962) – Gerardo de Leon’s masterpiece of an adaptation of Jose Rizal’s gothic revenge novel.

Eskapo (Escape, 1995)- Chito Rono’s thriller about the attempted escape of two political prisoners from the clutches of the Marcos regime.

Fe, Esperanza, Caridad (1975) – Omnibus film includes a wonderfully lighthearted Lamberto Avellana comedy about a young wife’s domestic troubles, and a memorably lurid Gerardo de Leon melodrama about a nun seduced by Satan.

Genghis Khan (1950) – Manuel Conde’s surprisingly engaging biopic of the Mongolian warrior, the first Filipino film (thanks to the support of critic James Agee) to be screened at the Venice Film Festival.

Halimaw sa Banga (Monster in a Jar, 1986) – Mario O’Hara’s horror short, about an ancient evil trapped in an enormous jar. Part of the omnibus film Halimaw.

Hesus Rebolusyunaryo (Jesus the Revolutionary, 2002) – Lav Diaz’s dystopian noir set five years in the future, when a man named Hesus takes on the ruling military junta.

Himala (Miracle, 1982)- Ishmael Bernal’s most hallucinatory film, about a prophetess (Nora Aunor in her most famous role) in a small town devastated by drought.

Hindi Nahahati ang Langit (The Heavens Indivisible, 1985) – Mike De Leon’s most commercially successful film, a surprisingly subtle adaptation of a popular komiks series about a wealthy man and his adopted sister.

Hinugot sa Langit (Snatched from Heaven, 1985) – Bernal’s thoughtful take on the issue of abortion.

Ibulong Mo sa Hangin (Whisper to the Wind, 1966) – Gerardo de Leon’s pulp horror masterpiece, about a proud old family afflicted with the curse of vampirism.

Ikaw ay Akin (You are Mine, 1978) – Ishmael Bernal melodrama featuring a rare co-appearance of the Philippines’ two most popular actresses: Nora Aunor as a married woman and Vilma Santos as the husband’s mistress.

Ina Ka ng Anak Mo (You Are the Mother of Your Child, 1979) – Lino Brocka’s masterful melodrama, about a husband who falls in love with his mother-in-law.

Maicling Pelicula Nang Ysang Indio Nacional (O Ang Mahabang Kalungkutan ng Katagalugan (A Short Film About the Indo Nacional (Or: the Prolonged Sorrow of the Filipinos), 2006) – Raya Martin’s lyrically silent poem about the 1896 Philippine revolt.

Init sa Magdamag (Midnight Passion, 1983) – Filmmaker Laurice Guillen and writer Racquel Villavicencio’s joint masterpiece, about a woman’s sensual, self-destructive urges, is perhaps the most erotic Filipino film I know—and achieves this status without even a moment of nudity.

Insiang (1976) – Brocka’s masterpiece, a noir drama about a daughter raped by her mother’s lover.

Itim (The Rites of May, 1975) – Mike de Leon’s first feature, an atmospheric tale of revenge from beyond the grave.

Jaguar (1979) – Excellent Brocka film noir, about a young man hired to be a rich man’s bodyguard (or jaguar, reverse slang for the Spanish word “guardia”).

Kakabakaba Ka Ba? (Will Your Heart Beat Faster? 1980) – Mike de Leon’s wittily demented musical satire about Japanese yakuza, Chinese gangsters, bohemian hedonism, and the Catholic Church.

Kasal? (Marriage? 1980) – Laurice Guillen’s debut film, about a young couple about to get married.

Kastilyong Buhangin (Sand Castle, 1980) – Mario O’Hara’s melodrama about an aspiring singer and her ex-convict sweetheart, an exhilarating cross between George Cukor’s A Star is Born and Ringo Lam’s Prison on Fire.

Kisapmata (Blink of an Eye 1981) – Mike de Leon’s masterpiece, a claustrophobic yet somehow comic tale of a man who marries into a dysfunctional family.

Kundiman ng Lahi (Song of a People, 1959) – Lamberto Avellana’s drama about a young woman and her troubling sensuality.

Kung Mangarap Ka’t Magising (Moments in a Stolen Dream, 1977) – Mike De Leon’s introverted drama about a young man who falls in love with a married woman.

Laman (Flesh, 2002) – Maryo J. Delos Reyes’ gritty noir, about the triangle that develops between a man, his wife, and his best friend.

Lihim ni Madonna (Secrets of Madonna, 1997) – Celso Ad. Castillo’s surreal melodrama, about a deranged woman raising a child.

Lilet (1971) – Jawdropping late-period Gerardo de Leon psychodrama, about a woman’s dysfunctional relationship with her family.

Magnifico (2003) – Maryo J. Delos Reyes and writer Michiko Yamamoto’s gentle comedy about an idealistic young boy and his attempts to help both friend and family.

May Nagmamahal sa Iyo (Madonna and Child, 1996) – moving Marilou Diaz-Abaya drama about a woman searching for the child she put up for adoption.

Maynila sa Mga Kuko ng Liwanag (Manila in the Claws of Neon, 1975)- Brocka’s best-known work, and one of the best visual portraits of Manila ever filmed

‘Merika (America, 1984) – Gil Portes’ drama about an immigrant (Nora Aunor), and her struggle to survive in the United States.

Mga Bilanggong Birhen (The Captive Virgins, 1977) – Mario O’Hara’s flawed yet fascinating epic about the oppression of women in a patriarchal family.

Minsan Lang Sila Bata (Children Only Once, 1996) – Ditsy Carolino and Nana Buxhani’s great documentary about child labor.

Misteryo sa Tuwa (Joyful Mystery, 1984) – years before “A Simple Plan,” Abbo de la Cruz’s fable tells of three men who find a suitcase full of money.

Moral (1982) – Arguably Marilou Diaz Abaya and Ricky Lee’s finest work, a comedy about the intertwining lives of four women.

Mortal (1975) – Mario O’Hara’s surreal debut film, about a man recovering from mental illness.

Nena (1995) – Ike Jarlego Jr. and writer Lualhati Bautista’s noir about a nightclub waitress raped while in prison.

Noli Me Tangere (1961) – Gerardo de Leon’s great adaptation of Jose Rizal’s groundbreaking novel.

Oliver (1983) – Nick Deocampo’s masterpiece, a documentary about a gay nightclub performer with an especially lurid “Spider-man” act.

Orapronobis (Fight for Us, 1989) – Perhaps Lino Brocka’s most intense political thriller, about the radicalization of a former priest.

Pagdating sa Dulo (At the Top, 1971) – Ishmael Bernal’s astonishingly assured film debut, a sophisticated satire on the film industry.

Pagputi ng Uwak, Pagitim ng Tagak (When The Crow Turns White, When the Heron Turns Black, 1978) – Celso Ad. Castillo’s social-class drama about a romance between a poor boy and a rich girl, set against the Huk rebellion.

Pangarap ng Puso (Demons, 2000) – Mario O’Hara’s genre-bending film about two lovers lost in a jungle of mythological, psychological, and political horrors.

Pila Balde (Fetch a Pail of Water, 1999) – Jeffrey Jeturian and writer Armando Lao’s best work, a lightly humorous drama set in a squatter area.

Relasyon (The Affair, 1982) – Ishmael Bernal’s kitchen-sink drama about a man and his mistress.

Rizal sa Dapitan (Rizal in Dapitan, 1997) – Tikoy Aguiluz’s documentarylike film about Jose Rizal’s exile to the island of Dapitan.

Sa North Diversion Road (On North Diversion Road, 2005) – Dennis Marasigan’s adaptation of Tony Perez’s classic play, about ten couples (nine of them married) driving up the North Diversion Highway, their widely divergent stories, their common humanity.

Salawahan (Capricious, 1979) – Ishmael Bernal’s glittering sex comedy about a one-woman man and his playboy friend.

Salome (1981) – Laurice Guillen’s drama about a young woman’s murder of her rapist, and the contradictory stories behind the crime.

Sanda Wong (1955) – Gerardo de Leon’s wonderful fantasy about the friendship between a young man and a notorious pirate.

Sawa sa Lumang Simboryo (Python in the Old Dome, 1952) – Great Gerardo de Leon fantasy, about a legendary bandit and his python-guarded treasure trove.

Scorpio Nights (1985) – Peque Gallaga’s masterpiece is an expression of the nihilism and despair of Filipinos during the last years of the Marcos regime, and a great film.

Segurista (Dead Sure, 1996) – Tikoy Aguilzu’s well-made noir thriller, about an insurance salesgirl by day, and a “guest relations officer” by night.

Serafin Geronimo: Kriminal ng Baryo Concepcion (Serafin Geronimo: Criminal of Baryo Concepcion, 1998) – Lav Diaz’s ambitious film debut, about a Raskolnikov-like criminal struggling with his conscience.

Sisa (1951) – Gerardo de Leon’s great revisionist film about one of Jose Rizal’s most memorable characters, Sisa.

Sisa (Mario O’Hara, 1998) – Mario O’Hara’s wildly imaginative remake of the Gerardo de Leon classic, where Rizal falls in love with his own literary creation.

Sister Stella L. (1984) – Mike De Leon’s only overtly activist film, about the emerging political conscience of a nun.

Stardoom (1971) – Great Lino Brocka melodrama from the “komiks” by Mars Ravelo, about a rising young singer and his obsessive stage mother.

Takaw Tukso (Temptation, 1986) – brilliant film from William Pascual and writer Armando Lao, about a quartet of lovers in an intensely Bergmanesque chamber drama.

Tatlo, Dalawa, Isa (Three, Two, One, 1975) – A Lino Brocka omnibus film that includes a man undergoing drug rehab, a slum girl who must choose between her American father and Filipina mother, and a lonely spinster and her sensual gardener.

Tatlong Taong Walang Diyos (Three Years Without God, 1976) – Mario O’Hara’s epic tale of the love between a Filipina and a half-Japanese officer, arguably the greatest Filipino film ever made.

Temptation Island (1981) – great surreal camp romp by Joey Gosiengfiao, about beauty pageant contestants stranded on an island. Third-world Pedro Almodovar, only stranger and funnier.

Terror is a Man (1959) – Gerardo de Leon’s small-scale yet intriguing take on H.G. Wells’ classic The Island of Dr. Moreau.

The Moises Padilla Story (1961) – one of Gerardo de Leon’s best films, about a man who dares to confront the established political order, is betrayed and destroyed.

Tinimbang Ka Ngunit Kulang (You Were Weighed and Found Wanting, 1974) – one of Lino Brocka’s rare epics, a panoramic portrait of a small town.

Todo Todo Teros (2006) – John Torres moving confessional and paranoid spy drama, made completely out of snippets of poetry and found footage.

Tubog sa Ginto (Dipped in Gold, 1971) – Lino Brocka’s adaptation of Mars Ravelo’s “komiks” melodrama about a successful businessman trying to hide his homosexuality.

Turumba (1981) – Kidlat Tahimik’s best work, about the exploitation of a small town by German investors.

Uhaw na Pag-ibig (Thirsty Love, 1983) – Vivid Mario O’Hara film noir, about a young woman turned prostitute.

Working Girls (1984)- Ishmael Bernal and writer Amado Lacuesta’s biting comedy about shenanigans in a Makati City bank.

Dimitris Psachos

over 5 years ago

subjective or not Marc, i envy Vera’s attempt to compile a personal list of Philippine’s quite abundant film production.

if only we had critics like Vera here in my country who would dare to admire our masterpieces.

Rossoneri Ultra

over 5 years ago

Unfortunately, Brillante Mendoza’s Tirador was screened at my cinematheque and I missed out on it. :(


over 5 years ago

Anak:The Movie (2000 Rory Quintos)

I watched this touching movie via Netflix. Vilma Santos stars as a Filipino mother whose long absences as a maid in Hong Kong create family issues.


over 5 years ago

Have you heard about the films of Carlitos Siguon-Reyna and other films of Gil Portes?


over 5 years ago

And other films like SELDA or DONSOL.


almost 5 years ago

APURSAN​SAR, Thank you for re-posting the list! I’m eager to look for Gerardo de Leon films. I’m thrilled that “Noli Me Tangere” is included.

Oro, Plata, Mata (1982) dir by. Peque Gallaga


almost 5 years ago

Could this be the thread where all Filipino cinephiles unite? Could we do our communal web bonding right here?



almost 5 years ago

Hey Ira, that would be cool! It’s been awhile since I watched a Filipino film, I think the last was “Tanging Yaman” and “Anak”. And I have watched Filipino American films like “Lumpia”, “The Debut”, etc. My parents watch a lot of it via renting or whatever is on TFC.

Thanks Apursansar for posting Vera’s top 50. Are distribution for those films available on DVD? And for those who are inerested in checking out Filipino cinema who don’t speak Tagalog (or other dialects), are they subtitled in English?

Irvin Contrer​as

almost 5 years ago

To answer your question, these are the following films in that list that I know are available on DVD either here or available online commercially but I’m not sure which one/s have subtitles apart from the recent ones:

Ang Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros, 2005)
Ang Tatay Kong Nanay (My Father the Mother, 1978)
Babae sa Breakwater (Woman of the Breakwater, 2004)
Batch ‘81 (1982)
Bayani (Hero, 1992)
Bayaning Third World (Third World Hero, 2000)
Bona (1980)
City After Dark (1980)
Himala (Miracle, 1982)
Insiang (1976) .
Magnifico (2003)
Relasyon (The Affair, 1982)
Scorpio Nights (1985)
Sister Stella L. (1984)
Tatlo, Dalawa, Isa (Three, Two, One, 1975)
Tatlong Taong Walang Diyos (Three Years Without God, 1976)
Tinimbang Ka Ngunit Kulang (You Were Weighed and Found Wanting, 1974)
Working Girls (1984)-

Jerome Magajes

over 4 years ago

Here’s some more to submissions:
-Cameroon Love Letter (For Solo Piano) (Khavn dela Cruz, 2010)
-Camiling Story (Erwin Romulo, 2005)
-Can This Be Love (Jose Javier Reyes, 2005)
-Caregiver (Chito Roño, 2008)
-Cavite (Neill dela Llana & Ian Gamazon, 2005)
-Colorum (Jobin Ballesteros, 2009)
-Compound (Will Fredo, 2006)
-Concerto (Paul Alexander Morales, 2008)
-Confessional (Jerrold Tarog & Ruel Dahis Antipuesto, 2007)
-Daan Patungong Kalimugtong, Ang (The Road to Kalimugtong, Mes de Guzman, 2005)
-Dagim (Raincloud, Joaquin Valdes, 2010)
-Damgo ni Eleuteria, Ang (The Dream of Eleuteria, Remton Zuasola, 2010)
-Dayo (Wanderer, Robert Quilao, 2008)
-Donor (Mark Meily, 2010)
-Emir (Chito Roño, 2010)
-Endo (Jade Castro, 2007)
-Eskrimadors (Kerwin Go, 2009)
-Faces of Love (Eddie Romero, 2007)
-Genghis Khan (Manuel Conde & Lou Salvador, 1950)
-Handumanan (Remembrance, Seymour Barros-Sanchez, 2009)
-Hihintayin Kita sa Langit (I Will Wait for You in Heaven, Carlos Siguion-Reyna, 1991)
-Hinugot sa Langit (Snatched from Heaven, Ishmael Bernal, 1985)
-Huling Balyan ng Buhi (Woven Stories of the Other, Sherad Anthony Sanchez, 2006)
-Huling Birhen sa Lupa, Ang (The Last Virgin, Joel Lamangan, 2003)
-Huling Pasada (Final Stop, Paul Sta. Ana & Alvin Yapan, 2008)
-I Do (Veronica Velasco, 2010)
-I Love You, Goodbye (Laurice Guillen, 2009)
-Imahe Nasyon (Image Nation, Various, 2006)
-In My Life (Olivia Lamasan, 2009)
-Inang Yaya (Mother Nanny, Pablo Biglangawa & Veronica Velasco, 2006)
-Intramuros (The Walls of Hell, Gerardo de Leon & Eddie Romero, 1964)
-Jay (Francis Xavier Pasion, 2008)
-Jose Rizal (Marilou Diaz-Abaya, 1998)
-Kadin (The Goat, Adolfo Alix, Jr., 2007)
-Kasal, Kasali, Kasalo (To Marry, To Join, To Share, Jose Javier Reyes, 2006)
-Keka (Quark Henares, 2003)
-Kimmy Dora (Joyce Bernal, 2009)
-Kubrador (The Bet Collector, Jeffrey Jeturian, 2006)
-Kundiman ng Lahi (Song of the Race, Lamberto Avellana, 1959)
-La Paloma: Ang Kalapating Ligaw (La Paloma: The Lost Dove, Joey Gosiengfiao, 1974)
-Laruang Lalake (Boy Toys, Joselito Altarejos, 2010)
-Last Supper No. 3 (Veronica Velasco, 2009)
-Layang Bilanggo (Life Sentence, Michael Angelo Dagñalan, 2010)
-Ligalig (Anxiety, Cesar Montano, 2006)
-Limbunan (Bridal Quarter, Gutierrez Masangkanan II, 2010)
-Lupang Hinarang (Hindered Land, Ditsi Carolino, 2009)
-Mababangong Bangungot (Perfumed Nightmare, Kidlat Tahimik, 1977)
-Magkakapatid (Blood Ties, Kim Homer Garcia, 2010)
-Mag-Ingat Ka Sa… Kulam (Be Careful Of… Witchcraft, Jun Lana, 2008)
-Maling Akala (Mistaken Assumption, Pablo Biglangawa & Veronica Velasco, 2007)
-Malvarosa (Gregorio Fernandez, 1958)
-Mangatyanan (The Blood Trail, Jerrold Tarog, 2009)
-Mano Po 5: Gua Ai Di (Joel Lamangan, 2006)
-Mano Po 6: A Mother’s Love (Joel Lamangan, 2009)
-Matakot Ka Sa Karma (Be Afraid of Karma, Jose Javier Reyes, 2006)
-Maynila sa mga Pangil ng Dilim (Manila in the Fangs of Darkness, Khavn dela Cruz, 2008)
-Mayohan (Maytime, Dan Villegas, 2010)
-‘Merika (Gil Portes, 1984)
-Milan (Olivia Lamasan, 2004)
-Miss You Like Crazy (Cathy Garcia-Molina, 2010)
-Moises Padilla Story, The (Gerardo de Leon, 1961)
-Mutya ng Pasig (Muse of Pasig, Richard Abelardo, 1950)
-My Big Love (Jade Castro, 2008)
-Namets! (Yummy!, Jay Abello, 2008)
-Narinig Mo Na Ba Ang L8est? (Have You Heard of the Latest?, Jose Javier Reyes, 2001)
-Natutulog Pa Ang Diyos (God is Still Asleep, Lino Brocka, 1988)
-Nerseri, Ang (The Nursery, Vic Acedillo, Jr., 2009)
-Numbalikdiwa (Roberto Bonifacio, Jr., 2006)
-Orapronobis (Fight For Us, Lino Brocka, 1989)
-Pa-Siyam (Erik Matti, 2004)
-Paano Ko Sasabihin? (How Do I Tell You?, Richard Legaspi, 2009)
-Pagdating sa Dulo (At the Top, Ishmael Bernal, 1971)
-Paglilitis ni Andres Bonifacio, Ang (The Trial of Andres Bonifacio, Mario O’Hara, 2010)
-Pamahiin (Superstition, Rahyan Carlos, 2006)
-Pamana, Ang (The Inheritance, Romeo Candido, 2006)
-Panggagahasa kay Fe, Ang (The Rapture of Fe, Alvin Yapan, 2009)
-Paraiso: Tatlong Kwento ng Pag-asa (Paradise: Three Stories of Hope, Ricky Davao, Jun Lana & Joel Ruiz, 2007)
-Pink Halo-Halo (Joselito Altarejos, 2010)
-Pisay (Philippine Science, Auraeus Solito, 2007)
-Ploning (Dante Nico Garcia, 2008)
-Possible Lovers (Raya Martin, 2008)
-Ranchero (Michael Christian Cardoz, 2008)
-Resiklo (Recycle, Mark Reyes, 2007)
-Rigodon (Sari Lluch Dalena & Keith Sicat, 2005)
-Riles (Life on the Tracks, Ditsi Carolino, 2003)
-Room 213 (Keith Sicat, 2008)
-Rosario (Albert Martinez, 2010)
-RPG Metanoia (Luis Suarez, 2010)
-Sa Ilalim ng Cogon (Beneath the Cogon, Rico Maria Ilarde, 2005)
-Sakal, Sakali, Saklolo (Jose Javier Reyes, 2007)
-Sana Maulit Muli (Hopefully, Once More, Olivia Lamasan, 1995)
-Sana Pag-ibig Na (Enter Love, Jeffrey Jeturian, 1998)
-Sanglaan (The Pawnshop, Milo Sogueco, 2009)
-Sarong Banggi (One Night, Emmanuel dela Cruz, 2005)
-Sa’yo Lamang (Only for You, Laurice Guillen, 2010)
-Selda (The Inmate, Ellen Ramos & Paolo Villaluna, 2008)
-Senior Year (Jerrold Tarog, 2010)
-Serbis (Service, Brillante Mendoza, 2008)
-Shake, Rattle and Roll (Ishmael Bernal, Emmanuel Borlaza, & Peque Gallaga, 1984)
-Shake, Rattle and Roll 12 (Zoren Legaspi, Topel Lee & Jerrold Tarog, 2010)
-Shake, Rattle and Roll 2k5 (Uro dela Cruz, Rico Maria Ilarde & Richard Somes, 2005)
-Shake, Rattle and Roll 8 (Rahyan Carlos, Topel Lee & Mike Tuviera, 2006)
-Shake, Rattle and Roll 9 (Paul Daza, Mike Tuviera & Topel Lee, 2007)
-Shake, Rattle and Roll X (Topel Lee & Mike Tuviera, 2008)
-Sigaw (The Echo, Yam Laranas, 2004)
-Snake Sisters (Celso Ad. Castillo, 1984)
-Son of God (Khavn dela Cruz & Michael Noer, 2010)
-Still Life (Katski Flores, 2007)
-Sukob (The Wedding Curse, Chito Roño, 2006)
-Super Noypi (Quark Henares, 2006)
-T2 (Chito Roño, 2009)
-Tambolista (Drumbeat, Adolfo Alix, Jr., 2007)
-Taon Noong Ako’y Anak sa Labas (Years When I Was a Child Outside, John Torres, 2008)
-Tatarin (Summer Solstice, Tikoy Aguiluz, 2001)
-Tatay Kong Nanay, Ang (My Father, My Mother, Lino Brocka, 1978)
-Teach Me To Love (Eddie Romero, 2008)
-Thank You Girls, The (Charliebebs Gohetia, 2008)
-Till My Heartaches End (Jose Javier Reyes, 2010)
-Torotot (Destierro, Maryo J. De Los Reyes, 2008)
-Tsardyer (Sigfried Barros-Sanchez, 2010)
-Tribu (Jim Libiran, 2007)
-Tukso (Temptation, Dennis Marasigan, 2007)
-Tulad ng Dati (Just Like Before, Mike Sandejas, 2006)
-Tuli (Circumcision, Auraeus Solito, 2005)
-Txt (Michael Tuviera, 2006)
-Urduja (Reggie Entienza, 2008)
-Villa Estrella (Rico Maria Ilarde, 2009)
-Vox Populi (Dennis Marasigan, 2010)
-Wag Kang Lilingon (Don’t Look Back, Quark Henares & Jerry Lopez Sineneng, 2006)
-Walang Alaala ang mga Paru-Paro (Butterflies Have No Memories, Lav Diaz, 2009)
-Wanted: Border (Ray Gibraltar, 2009)
-When Timawa Meets Delgado (Ray Gibraltar, 2007)
-White Lady (Jeff Tan, 2006)
-Women in Cages (Gerardo de Leon, 1971)
-Working Girls (Jose Javier Reyes, 2010) (Tikoy Aguiluz, 2003)
-Yanggaw (Affliction, Richard Somes, 2008)
-You Are the One (Cathy Garcia-Molina, 2006)
-You Got Me (Cathy Garcia-Molina, 2007)
-Zamboanga (Eduardo de Castro, 1937)
-Zsa Zsa Zaturnnah Ze Moveeh (Joel Lamangan, 2006)

Jerome Magajes

over 4 years ago

Jerome Magajes

over 4 years ago

Darakula, 1982
Santa Claus Is Coming to Town!, 1982
Medalyang ginto, 1982
Puppy Love, 1982
Where Love Has Gone, 1982
My Heart Belongs to Daddy, 1982
I Love You 3X a Day, 1982
Schoolgirls, 1982
Just Say You Love Me, 1982
Aking prince charming, 1983
Ang Boyfriend Kong Kano, 1983
Shame, 1983
Strangers in Paradise, 1983
Inside Job, 1983
Pieta, 1983
Friends in Love, 1983
Milyon, 1983
Never Ever Say Goodbye, 1983
Desperado, 1983

Jerome Magajes

over 4 years ago

“Sarhento Aguila at 9 na Magigiting” (1966)
“Target Domino” (1966)
“Bakit Pa Ako Isinilang?” (1966)
“Till The End Of Time” (1966)
“Triggerman” (1966)
“The Passionate Strangers” (1966)

Jerome Magajes

over 4 years ago

“Gunfighter” (1966)
“Rico Solitaryo” (1966)
“Flight of the Sparrow” (1966)
“Ikaw… ang Gabi at ang Awit {Arrivedercci Roma}” (1966)
“Saan Ka Man Naroroon” (1966)

Jerome Magajes

over 4 years ago

“Dahil Sa Isang Bulaklak” (1967)
“Modus Operandi” (1967)
“Dugo sa Buhangin” (1967)
“I’ll See You in September” (1967)
“The Longest Hundred Miles” (1967)
“Sitsirtitsit Alibangbang” (1967)
“Las Vegas a’go-go” (1967)

Jerome Magajes

over 4 years ago

“Manila, Open City” (1968)
“De Colores” (1968)
“Jeepney King” (1968)
“Sayonara My Darling” (1968)
“Room For Rent” (1968)
“Swinging Jet-Age” (1968)

Jerome Magajes

over 4 years ago

“Walang Katapusang Tag-araw (1977)- Stars Charito Solis, Mat Ranillo III, Eddie Garcia, Liza Lorena, Ruel Vernal, Ingrid Salas, Veronica Palileo, Rustica Carpio/ Directed by Ishmael Bernal

“Sa Piling ng mga Sugapa” (1977)- Stars Bembol Roco, Chanda Romero and Mat Ranillo III/ with Julie Ann Fortich, Paul Lacanilao, Mely Tagasa/ Directed by Gil M. Portes

“Mga Bilanggong Birhen” (1977)- Stars Alma Moreno, Trixia Gomez, Rez Cortez, Armida Siguon-Reyna, Mario Montenegro, Barbara Luna, Ruffy Mendoza and Leroy Salvador/ Directed by Mario O’Hara and Romy Suzara

“Inay” (1977)- Stars Dindo Fernando,Chanda Romero, Orestes Ojeda, Laurice Guillen, Ace Vergel, Dexter Doria and Alicia Vergel/ Directed by Lino Brocka

“Banta ng Kahapon” (1977)- Stars Vic Vargas, Rafael ‘Bembol’ Roco, Jr., Roland dantes and Chanda Romero/ with Lito Legaspi, Roderick Paulate, Ruben Rustia/ Directed by Eddie Romero

“Bakya Mo Neneng” (1977)- Stars Joseph Estrada, Nora Aunor, Tirso Cruz III, Gloria Sevilla, Angelo castro Jr., Ramon D’ Salva, Angelo Ventura/ Directed by Augusto Buenaventura

Jerome Magajes

over 4 years ago

Here’s the commercials but the list of times:
Jollibee “Lola”
Knorr Chinese soup “Just add one egg”
Mr. Clean “Labadami Labango”
Del Monte “Magnifico”
PAL “Shining Through”
DBP “Inay Sipag”
Purefoods TJ Hotdog “Goodbye Carlo”
Sprite Magpakatotoo Ka “Japorms”
Johnson’s Wax “Johnson’s yata yan”
Bench “Rowing”
SMB “Mag-beer muna tayo”
Jollibee “Ligaw”
Zoom Supershell
Gold Eagle
Del Monte Spaghetti Sauce “Preferred by Mothers”
McDonalds “Karen po”
Palmolive Soap “I can feel it”
Ahit pogie (radio ad)
Royal Tru Orange
Sarsi “Mag-Sarsi ka para maiba”
Superwheel “Magpatuka sa ahas”
SMB “Isang PLatitong Mani”

Jerome Magajes

over 4 years ago

1. Ajax “Maxima Labandera”/ TV
2. Astra “Superman”/ Print
3. Ayala Land “Grass to Glass” /Print
4. Banco Filipino “Subok na Matibay, Subok na Matatag”
5. Bench “richard/Rowing” / TV
6. C U in Cebu “Donut Bai” / TV
7. Camay “Ang Barko…President Roosevelt” / TV
8. Colgate “Sinag ng Fresh Breath/Magie Moran” / TV
9. DBP “Narda” / TV
10. Del Monte Spaghetti Sauce “Novices” / TV

11. Del Monte Spaghetti Sauce “Godfather” / TV
12. Dequadin “Do-Re-Mi” / TV
13. Gold Eagle Beer “Billards” / TV
14. Johnson’s Floor Wax “Parachute” / TV
15. Jollibee “Ligaw” / TV
16. Jollibee “Lola” / TV
17. Jollibee “I Love You Sabado” / TV
18. Knorr Chinese Soup “Pu-Yi/Good-ah!” / TV
19. Magnolia Frozen Delights “Mommy” / TV

20. MCDonald’s Karen/Lolo" / TV
21. Milkmaid “Grow Tall Little Man” /TV
22. Mr. Clean “Labadami, Labango” / TV
23. Nestle “Sa Mata ng Bata” / TV
24. PLDT “Billy” / TV
25. PLDT “Suportahan Ta Ka” / TV
26. PAL “Shining Though” / TV
27. Palmolive Soap “I can feel it” / TV
28. Petron “Palyado” / Radio
29. Purefoods “Goodbye, Carlo” / TV
30. Royal Tru Orange “Joey-Mantika” / TV

31. Rubie Blades “Ahit Pogi-Harana” / Radio
32. Safeguard “Konsensya/Supermarket” / TV
33. San Miguel Beer “Isang Platitong Mani” /TV
34. San Miguel Beer “Bruno” / TV
35. Sarsi “Angat sa Iba” / TV
36. Spartan Rubber Sandals " Criselda" / TV
37. Sprite “Japorms” / TV
38. Superwheel " Magpatuka na lang ako sa ahas" / TV
39. Super Shell “Zoom Zoom” / TV
40. Tide “Nagkabistuhan na” / TV

Jerome Magajes

over 4 years ago

The commercial in TV is a film?Of course.
Here’s the commercial from Jolibee (unknown year)

Jerome Magajes

over 4 years ago

Government Infomercials featuring L.A. Lopez’s high-pitched voice scraping your ear drums with:
“Iodized salt! Iodized salt! Mag-Iodized salt tayo!”
“TKO! TKO! Tubig! Kubeta! Oresol!”

Milo ad, featuring Bea Lucero doing splits and other acrobatic, de-virginizing movements. Lea Salonga sings the jingle, which goes:
“I’m getting ready, getting ready..
Oh what a day it’s gonna be..”
R.A. Homevision ad. Remember E.T.’s hand pushing that betamax player?
Asahi electric fan ad:
“Asahi.. Cools so well
Asahi.. Light as breeze
Asahi.. Makes you feel alright.
Turn, turn on an Asahi fan (2x)
YC Bikini Brief ad. This may have watered the seeds of homosexuality in me:
“Y.C. Bikini Briefs.
For the man who packs a wallop!
Y.C. spells comfort,
Y.C. spells fashion,
Y.C. sets beauty in motion,
Y.C. is for you!
Y.C. Bikini Briefs.
Y.C. Bikini Briefs.
Y.C. Bikini Briefs!”
Encarnacion Bechaves ad. “When you care enough to send the very best.”

Cindy’s Fastfood Chain ad. Jingle:
“When you’re hungry.
Cindy’s is the place to be.
Burgers. French fries. Fried chicken.
Chicken barbecue! Palabok and spaghetti.
When you’re hungry. Cindy’s is the place to be.”
Bear Brand ad, featuring a doting grandfather with a malignant-looking mole.
“I remember yesterday.
The world was so young.
Fun times with grandma.
Sharing moments.
Is that you Lolo?
Look at my mole.
A yeah!”
Jollibee ad. Tagline: “Mommy, nawawala si Jennifer!”

Jerome Magajes

over 4 years ago

Tender Age, 1984
Naiibang hayop, 1984
Nang maghalo ang balat sa tinalupan, 1984
Baby Tsina, 1984
Campus Beat, 1984
Bagets 2, 1984
Somewhere, 1984

Jerome Magajes

about 4 years ago

-Liwanag sa Dilim /Light in the Dark,2011