Pinoy Rebyu Score: 2.93 (7 ratings)

Genre: Drama

Directors: Cesar Apolinario, Marnie Manicad

Writers: Cris Lim, Michael Villar

Cast: Dingdong Dantes, Patrick Bergin, Joey Paras, Ricky Davao, Gabe Mercado, Thou Reyes, Roy Alvarez, Mon Confiado, Kathleen Hermosa

Synopsis: The film centers on the friendship between three inmates. Frank (Patrick Bergin) is an American who was wrongly accused of murder. Mando (Dingdong Dantes) was convicted of killing a gay man, and secretly harbors a desire to dance. Allona (Joey Paras) is a gay inmate who is corresponding with a man outside under false pretenses. When an idealistic new warden (Ricky Davao) arrives in their prison, the three are given a chance to make things better. But the corrupt and ambitious deputy warden has other plans. (Click the City)

MTRCB Rating: R-13

Running Time: 100 mins.

Trailer: 

Reviews:

4.0          Pablo Tariman (The Philippine Star)

“Thus far, this is the best of Dingdong as an actor. His dance sequences are credible, his intensity comes from something deep in his being.” (Read full review)

4.0          Karen Pagsolingan (PEP)

“Screenwriters Cris Lim and Michael Villar did a good job of putting everything together, even if there were so many intricate sub-plots and issues.” (Read full review)

3.5          Isah Red (Manila Standard Today)

“Though it has a rather thin plot, the polish that the filmmakers showed in developing the film into a decent oeuvre is admirable.” (Read full review)

3.5          Mario Bautista (Showbiz Portal)

“This is really a prison movie with a lot of heart… We have no doubt this can easily be marketed abroad.” (Read full review)

2.0          Philbert Dy (Click the City)

“Though the film makes mention of real problems in the Philippine prison system, it approaches it in such a way that it has zero effect. There’s probably a decent movie to be made about the Cebu dancing inmates, but this just isn’t it.” (Read full review)

2.0          Armand dela Cruz (Film Police)

“Dance of the Steelbars delivers the message that it wants to get delivered; only the message grows devoid of effect, as the movie is bound–caged, if you will–by Filipino melodramatic tropes.” (Read full review)

1.5          Skilty Labastilla (Young Critics Circle)

“Of course it would take a white man to save brown men from themselves. Black-and-white characters, over-the-top performances, unimaginative plot. Also, hilariously bad cameo acting by Cebu Gov. Gwen Garcia.”

Verdict: Value for Money

Pinoy Rebyu Score: 3.65 (10 ratings)

Genre: Comedy

Director: Jade Castro

Writers: Rody Vera

Cast: Mae Paner, Angelina Kanapi, Annicka Dolonius, Jelson Bay, Joel Torre, John James Uy, Mads Nicolas, Niño Muhlach, Ronnie Lazaro

Synopsis: A young woman from a far off province is sent to study in a prestigious Manila university. But she gets caught up in the wrong crowd and ends up becoming a high class prostitute. Her surprising skill gives her access to the most powerful figures in the government, which exposes her to corruption at the highest levels. (Click the City)

MTRCB Rating: R-16

Running Time: 90 mins.

Trailer: 

Reviews:

5 .0         Rianne Hill Soriano (Business World Online)

“A delectably biting satire, it manages to keep the audience entertained from start to end.” (Read full review)

4.5          Abby Mendoza (FHM)

“It coherently attacks the illnesses of politics without being too preachy, but instead through intelligent mockery that is utterly funny and poignant. It is with these implements that Juana C. The Movie and its titular actress are able to succeed in shedding light on serious societal matters in a very entertaining manner.” (Read full review)

4.0          Ria Limjap (Spot.ph)

“Only Mae Paner, poster girl for The New Sexy—and our answer to Lena Dunham—can prance across the screen with abandon, reminding us that it doesn’t matter what you look like, as long as you have a strong message, that is, a call for awareness and action.” (Read full review)

4.0          Rob San Miguel (Brun)

“The movie may seem to contain the usual toilet and crass jokes but upon careful scrutiny (if you manage to stop laughing), the jokes bite.” (Read full review)

4.0          Bernard Santos (My Movie World)

“I like how the film was done: napakatotoo, may mensahe, napapanahon at makabuluhan.” (Read full review)

3.5          Philbert Dy (Click the City)

“The movie can be quite a jumble at times, but it manages to press on through sheer will of belief. It is a hopeful, happy movie that’s just infectious enough to keep things from completely going off the rails.” (Read full review)

3.5          Alwin Ignacio (The Daily Tribune)

“As the collective laughter dies down, however, the laugh-out-loud flick presents some very painful truths — the root of our country’s ills.” (Read full review)

3.0          Oggs Cruz (Twitch)

“Juana C. the Movie works best as a caricature of Philippine society. By enunciating and exaggerating immense national issues to the point of ridicule, the film brings the discourse to a level that is readily understandable to the common man.” (Read full review)

3.0          Nicol Latayan (Tit for Tat)

“It’s pretty obvious that the movie has a lot to offer, and while some of the subplots didn’t work for me, the main message of the film stood out in the end.” (Read full review)

2.0          Skilty Labastilla (Young Critics Circle)

“By crafting a consciously slapdash movie, the filmmakers seem to be saying, ‘Don’t take the movie seriously; take the message seriously.’ And that’s basically the movie’s downfall: it’s a message movie whose message is something everyone already knows in the first place.” (Read full review)

Verdict: Proceed with Caution

Pinoy Rebyu Score: 2.21 (7 ratings)

Genre: Drama

Director: Ato Bautista

Writers: Shugo Praico, Ato Bautista

Cast: Mara Lopez, Mon Confiado, Alex Vincent Medina

Synopsis: Nestor (Alex Medina) works at an electronics shop owned by the unscrupulous Ramiro (Mon Confiado). He owes his boss a substantial amount of money. His wife Luisa thinks that they should just run away to the provinces, but Nestor’s pride keeps him from leaving. Ramiro offers him a way out of his debt; all he asks in return is a video of Luisa taking a bath. Desperate, Nestor installs surveillance equipment and his home and delivers the illicit material. But that doesn’t quite end his problems, as Ramiro has greater designs for Nestor’s young wife. (Click the City)

MTRCB Rating: R-16

Trailer: 

Reviews:

3.0          Oggs Cruz (Twitch)

“Palitan could be seen as exploitative, especially with its overindulgent bed scenes that seem to overpower what essentially is a thin story. However, the exploitation is an overt part of the milieu Bautista attempts to explore.” (Read full review)

3.0          Dodo Dayao (Piling Piling Pelikula)

“Sure, it gets its softcore jollies down pat, but just like its spiritual forebear, Scorpio Nights, this is really about the simmering desperation that comes from sustained ennui and claustrophobia, re-imagining the cramped milieu as an ever tighter space with even flimsier walls.” (Read full review)

2.5          Skilty Labastilla (Young Critics Circle)

“The difference with Scorpio Nights and this one is the sex scenes in the classic film never seem exploitative (even if they get increasingly more risqué). Here, there’s one gratuitous scene (the first sex scene between Mara and Mon) that lasts forever, complete with sexy music that’s synchronized with the lovers’ thrusts.” (Read full review)

2.5          Nicol Latayan (Tit for Tat)

“Too inconsistent to effectively work, though there there were some bright spots in it.” (Read full review)

2.0         Nico Quejano (Cinephiles)

“Dignity costs 25,000 pesos and loyalty even less… five pairs of underwear. Mon Confiado selling his wares in the beginning was promising, then it became just another infidelity movie with a five-minute sex scene. Nothing in this movie makes sense. Contrived, especially how it ended.”

1.5         Philbert Dy (Click the City)

“The movie doesn’t go much further than the surface, the story wallowing in lurid elements, finding little to say when all is said and done.” (Read full review)

1.0         Richard Bolisay (Lilok Pelikula)

“Instead of paying homage to Scorpio Nights (a masterwork of heavy political insight) it actually embarrasses Peque Gallaga and his film to the core.” (Read full review)

50 GREATEST PINOY FILMS UNTIL 1989

1              Maynila sa mga Kuko ng Liwanag (Lino Brocka, 1975) 112 points

2              Ganito Kami Noon… Paano Kayo Ngayon? (Eddie Romero, 1976) 85 pts

3              Anak Dalita (Lamberto Avellana, 1956) 71 pts

4              Manila By Night (Ishmael Bernal, 1980) 67 pts

5              Kisapmata (Mike de Leon, 1981) 62 pts

6              Insiang (Lino Brocka, 1976) 58 pts

7              Biyaya ng Lupa (Manuel Silos, 1959) 57 pts

8              Himala (Ishmael Bernal, 1982) 50 pts

9              Nunal sa Tubig (Ishmael Bernal, 1976) 46 pts

10            Oro Plata Mata (Peque Gallaga, 1982) 43 pts

11            Jaguar (Lino Brocka, 1979) 40 pts

12            Moral (Marilou Diaz-Abaya, 1982) 38 pts

13            Tinimbang Ka Ngunit Kulang (Lino Brocka, 1974) 36 pts

14            Itim (Mike de Leon, 1976) 34 pts

15            Noli Me Tangere (Gerardo de Leon, 1961) 30 pts

16            Salome (Laurice Guillen, 1981) 29 pts

17            Hinugot sa Langit (Ishmael Bernal, 1985) 28 pts

18            El Filibusterismo (Gerardo de Leon, 1962) 26 pts

19-20      Badjao (Lamberto Avellana, 1957) 25 pts

19-20      Burlesk Queen (Celso Ad. Castillo, 1977) 25 pts

21-22      Daigdig ng mga Api (Gerardo de Leon, 1965) 24 pts

21-22      Sawa sa Lumang Simboryo (Gerardo de Leon, 1952) 24 pts

23            Hanggang sa Dulo ng Daigdig (Gerardo de Len, 1958) 23 pts

24            Minsa’y Isang Gamugamo (Lupita Concio-Kashiwahara, 1976) 21 pts

25-27      Batch ’81 (Mike de Leon, 1982) 20 pts

25-27      Sakada (Behn Cervantes, 1976) 20 pts

25-27      Sisa (Gerardo de Leon, 1951) 20 pts

28-29      Miguelito: Ang Batang Rebelde (Lino Brocka, 1985) 18 pts

28-29      The Moises Padilla Story (Gerardo de Leon, 1961) 18 pts

30            Sister Stella L. (Mike de Leon, 1984) 17 pts

31-32      Genghis Khan (Manuel Conde, 1950) 16 pts

31-32      Tatlong Taong Walang Diyos (Mario O’Hara, 2003) 16 pts

33-34      Bona (Lino Brocka, 1980) 14 pts

33-34      Sanda Wong (Gerardo de Leon, 1955) 14 pts

35-36      Brutal (Marilou Diaz-Abaya, 1980) 13 pts

35-36      Virgin Forest (Peque Gallaga, 1985) 13 pts

37            Kundiman ng Lahi (Lamberto Avellana, 1959) 12 pts

38-39      Kakabakaba Ka Ba? (Mike de Leon, 1980) 11 pts

38-39      Scorpio Nights (Peque Gallaga, 1985) 11 pts

40-42      Boatman (Tikoy Aguiluz, 1984) 10 pts

40-42      Ligaw na Bulaklak (Ishmael Bernal, 1976) 10 pts

40-42      Relasyon (Ishmael Bernal, 1982) 10 pts

43-44      Bayan Ko: Kapit sa Patalim (Lino Brocka, 1985) 9 pts

43-44      Ifugao (Gerardo de Leon, 1954) 9 pts

45-47      48 Oras (Gerardo de Leon, 1950) 8 pts

45-47      Broken Marriage (Ishmael Bernal, 1983) 8 pts

45-47      Ikaw Ay Akin (Ishmael Bernal, 1978) 8 pts

48-49      Geron Busabos: Ang Batang Quiapo (Cesar Gallardo, 1964) 7 pts

48-49      Malvarosa (Gregorio Fernandez, 1958) 7 pts

50-51      High School Circa ’65 (Maryo J. Delos Reyes, 1979) 6 pts

50-51      Higit sa Lahat (Gregorio Fernandez, 1955) 6 pts

QUICK THOUGHTS

Twenty-two films in the 1989 list have been replaced in the 2013 poll, with Brocka’s Jaguar (1989) showing the most notable drop (from number 10 in 1989) to getting only one vote out of 81 in the 2013 poll. Other films notably absent in the 2013 poll are Noli Me Tangere (1961, previously at number 15), Salome (1981, previously at number 16), and Fernandez’s Daigdig ng mga Api (1965) and Gerardo de Leon’s Sawa sa Lumang Simboryo (1952), both formerly number 21.

The comparison of the two lists underscores the importance of film preservation. Daigdig ng mga Api, for instance, has no known extant print, and will unfortunately never be mentioned in future film polls. Eleven of the 22 films that bowed out of the top 50 were made before 1965, and one could argue that a good number of the 2013 voters may not have seen some of these films from the First Golden Age.

If there were previously highly regarded films that failed to make the cut in the new poll, there are six films that have been existing when the 1989 poll was conducted but failed to garner even one vote that have aged well and found new admirers in the recent poll. These are:

Mababangong Bangungot (1977) at number 12,

Pagputi ng Uwak, Pag-itim ng Tagak (1978) at 31,

Bagets (1984) at 36,

Oliver (1983) at 38,

Ang Tatay Kong Nanay (1978) at 40, and

Salawahan (1979) at 45.

We’ll leave you, dear readers, to tell us the possible reasons why these films are being appreciated by film experts now than when they came out.

INDIVIDUAL BALLOTS

Mario Bautista

1. Maynila sa mga Kuko ng Liwanag
2. Nunal sa Tubig
3. Ikaw ay Akin
4. Minsa’y Isang Gamugamo
5. Insiang
6. Manila By Night
7. Bayan Ko (Kapit sa Patalim)
8. Sister Stella L.
9. Bukas… May Pangarap
10. Brutal and Moral

Mel Chionglo

1. Jaguar
2. Batch ‘81
3. Bona
4. Kisapmata
5. Himala
6. Salome
7. Maynila: Sa mga Kuko ng Liwanag
8. Oro Plata Mata
9. Burlesk Queen
10. Sister Stella L.

Ishmael Bernal

1. Sisa
2. Anak Dalita
3. Kundiman ng Lahi
4. Sawa sa Lumang Simboryo
5. Tinimbang Ka Ngunit Kulang
6. Boatman
7. Burlesk Queen
8. Moral
9. Kisapmata
10. Genghis Khan

Isagani Cruz

1. Itim
2. Jaguar
3. Ganito Kami Noon
4. Himala
5. Manila By Night
6. Genghis Khan
7. Maynila: Sa mga Kuko
8. The Moises Padilla Story
9. Badjao
10. Portrait of the Artist as Filipino

Nick Cruz

1. Biyaya ng Lupa
2. Sakada
3. Sister Stella L.
4. Insiang
5. Miguelito: Ang Batang Rebelde
6. Hinugot sa Langit
7. Batch ‘81
8. Himala
9. Broken Marriage
10. Ganito Kami Noon

Petronilo Bn. Daroy

1. Genghis Khan
2. Nunal sa Tubig
3. Manila By Night
4. Ganito Kami Noon
5. Anak Dalita
6. Oro Plata Mata
7. Orapronobis
8. Insiang
9. Hubad na Bayani
10. Sawa sa Lumang Simboryo

Joel David

1. Manila By Night
2. Moral
3. Ganito Kami Noon
4. Malvarosa
5. Maynila: Sa mga Kuko
6. Sa Atin ang Daigdig
7. Miguelito: Ang Batang Rebelde
8. Kakabakaba Ka Ba?
9. Virgin Forest
10. Himala
11. Orapronobis

Vic Delotavo

1. Daigdig ng mga Api
2. Hanggang sa Dulo ng Daigidig
3. El Flibusterismo
4. Noli Me Tangere
5. Ifugao
6. Sanda Wong
7. Dyesebel
8. Medalyong Perlas
9. Bicol Express
10. Sawa sa Lumang Simboryo
11. Ganito Kami Noon
12. Oro Plata Mata
13. Insiang
14. Pahiram ng Isang Umaga

Marilou Diaz-Abaya

1. Manila By Night
2. The Moises Padilla Story
3. Tinimbang Ka Ngunit Kulang
4. Kisapmata
5. Moral
6. Ganito Kami Noon
7. Badjao

Justino Dormiendo

1. Maynila: Sa mga Kuko ng Liwanag
2. Nunal sa Tubig
3. Salome
4. Kisapmata
5. Oro Plata Mata
6. El Filibusterismo
7. Daigdig ng mga Api
8. Biyaya ng Lupa
9. Insiang
10. Badjao

Butch Francisco

1. Oro Plata Mata
2. Kisapmata
3. Manila By Night
4. Hinugot sa Langit
5. Maynila: Sa mga Kuko
6. Ganito Kami Noon
7. Anak Dalita
8. Batch ‘81
9. Biyaya ng Lupa
10. Relasyon

Christian Ma. Guerrero

1. Burlesk Queen
2. Maynila: Sa mga Kuko
3. Ganito Kami Noon
4. Biyaya ng Lupa
5. Anak Dalita
6. Oro Plata Mata
7. Himala
8. Insiang
9. Itim
10. Aguila
11. Virgin Forest
12. Misteryo sa Tuwa

Laurice Guillen

1. Sisa
2. The Moises Padilla Story
3. Insiang
4. Oro Plata Mata
5. Salome
6. Biyaya ng Lupa
7. Kisapmata
8. Ifugao
9. Anak Dalita
10. Burlesk Queen

Mario Hernando

1. Anak Dalita
2. Biyaya ng Lupa
3. Maynila: Sa mga Kuko
4. Manila By Night
5. Ganito Kami Noon
6. Sister Stella L.
7. Batch ‘81
8. Kisapmata
9. Nunal sa Tubig
10. Bayan Ko (Kapit sa Patalim)

Jose F. Lacaba

1. Daigdig ng mga Api
2. Anak Dalita
3. Sawa sa Lumang Simboryo
4. Nunal sa Tubig
5. Himala
6. Insiang
7. Ganito Kami Noon
8. Salome
9. Brutal
10. Bona

Marra PL. Lanot

Bona
Brutal
Himala
Hinugot sa Langit
Inay
Jaguar
Kung Mangarap Ka’t Magising
Sakada
Tatlong Taong Walang Diyos
Tinimbang Ka Ngunit Kulang

Nick Lizaso

1. Noli Me Tangere
2. Tatlong Taong Walang Diyos
3. Himala
4. Itim
5. Ganito Kami Noon
6. Badjao
7. Anak Dalita
8. Oro Plata Mata
9. Kisapmata
10. Nunal sa Tubig

Bienvenido Lumbera

1. Maynila: Sa mga Kuko
2. Nunal sa Tubig
3. Ganito Kami Noon
4. Kisapmata
5. Noli Me Tangere
6. Isumpa Mo, Giliw
7. Kundiman ng Lahi
8. Biyaya ng Lupa
9. Kadenang Putik
10. Bayan Ko (Kapit sa Patalim)

Antonio Mortel

1. Minsa’y Isang Gamugamo
2. Badjao
3. Anak Dalita
4. Noli Me Tangere
5. Kisapmata
6. Itim
7. Himala
8. Oro Plata Mata
9. Ito ang Pilipino
10. Isang Araw Walang Diyos

Tezza O. Parel

1. Himala
2. Moral
3. Jaguar
4. Maynila: Sa mga Kuko
5. Itim
6. High School Circa ‘6five
7. Kakabakaba Ka Ba?
8. Kisapmata
9. Broken Marriage

Raul Regalado

Boatman
Burlesk Queen
Kakabakaba Ka Ba?
Ganito Kami Noon
Manila By Night
Maynila: Sa mga Kuko
Moral
Private Show
Scorpio Nights
Virgin Forest

Eddie Romero

1. Tinimbang Ka Ngunit Kulang
2. Kisapmata
3. Manila By Night
4. Moral
5. Scorpio Nights
6. Maynila: Sa mga Kuko
7. Hinugot sa Langit
8. Salome
9. Tatlong Taong Walang Diyos
10. Paradise Inn

Armida Siguion-Reyna

1. Insiang
2. Maynila: Sa mga Kuko
3. Miguelito: Ang Batang Rebelde
4. Hinugot sa Langit
5. Virgin Forest
6. Brutal
7. Relasyon
8. Bayan Ko (Kapit sa Patalim)
9. High School Circa ‘6five
10. Working Girls

Agustin Sotto

1. Ligaw na Bulaklak
2. Sanda Wong
3. 48 Oras
4. Geron Busabos: Ang Batang Quiapo
5. Hanggang sa Dulo ng Daigdig
6. Juan Tamad Goes to Congress
7. Luksang Tagumpay
8. P1,000 Kagandahan
9. Apat na Taga
10. Jack and Jill
11. ROTC
12. Sino’ng Maysala?
13. Cofradia
14. Dyesebel
15. Badjao
16. Giliw Ko
17. Ibong Adarna

Nicanor G. Tiongson

1. El Flibusterismo
2. Ganito Kami Noon
3. Maynila: Sa mga Kuko
4. Insiang
5. Jaguar
6. Broken Marriage
7. Anak Dalita
8. Himala
9. Moral
10. Oro Plata Mata
11. Sisa

Nestor U. Torre

El Filibusterismo
Ganito Kami Noon
Itim
Manila By Night
Maynila: Sa mga Kuko

Raquel N. Villavicencio

1. Tinimbang Ka Ngunit Kulang
2. Maynila: Sa mga Kuko
3. Biyaya ng Lupa
4. Badjao
5. Sakada
6. Ganito Kami Noon
7. Minsa’y Isang Gamugamo
8. Jaguar
9. Itim
10. Insiang

Romeo Vitug

1. Biyaya ng Lupa
2. Anak Dalita
3. Hanggang sa Dulo ng Daigdig
4. Sawa sa Lumang Simboryo
5. Insiang
6. Relasyon
7. Salome
8. Burlesk Queen
9. Paradise Inn
10. Karnal

Verdict: Proceed with Caution

Pinoy Rebyu Score: 2.38 (4 ratings)

Genre: Drama

Director: Joel Lamangan

Writer: Rody Vera

Cast: Jennylyn Mercado, Lovi Poe, Paulo Avelino, Ahron Villena, Alex Castro, Ariel Ureta, Boboy Garovillo, Carla Dunareanu, Carmi Martin, Hayden Kho, Joem Bascon, Kat Alano, Snooky Serna, Tim Yap, Timmy Cruz

Synopsis: The movie begins with the wedding of Philip and Vivian (Paolo Avelino and Lovi Poe). Things get sticky when Vivian refuses to say “I do,” revealing to the gathered that she has discovered that Philip has been cheating on her with her maid of honor and best friend Sheila (Jennylyn Mercado). Following the fallout of the social humiliation, Sheila and Philip get together and fall back in love. But Vivian reenters the picture a changed woman, hatching a plot to get her revenge. She appears to forgive the people who wronged her, while inside, she nurses a wounded and bitter heart. (Click the City)

MTRCB Rating: R-13

Running Time: 105 mins

Trailer: 

Reviews:

3.0          Mark Angelo Ching (PEP)

“The Bride and The Lover is entertaining. Although it is quite unsure of its tone, it is fresh enough not to miss.” (Read full review)

2.5          Nicol Latayan (Tit for Tat)

“The movie is entertaining with its shift to comedic and dramatic tones though it also gets tiring by the time we’ve reached the latter part of the film.” (Read full review)

2.5          Bernard Santos (My Movie World)

“The movie got a good casting but the performance of lead actors here fails to justify their characters.” (Read full review)

1.5          Philbert Dy (Click the City)

“It winks heartily at the audience during its campiest moments, taking visible pleasure from its recognition that these elements are silly. But then it zips back to trying to be dramatic, and the effect is ruined.” (Read full review)

Verdict: Value for Money

Pinoy Rebyu Score: 3.43 (7 ratings)

Genre: Drama

Writer/Director: Will Fredo

Cast: Liza Diño, Biboy Ramirez, Al Gatmaitan, with Jam Pérez, Maradee De Guzman, Bong Cabrera, Leo Rialp, Joan Palisoc, introducing Ms. Tami Monsod and Ms. Clara Ramona

Synopsis: Mara Bonifacio Advento (Diño) is a talented young dancer with her eye on the principal part of In Nomine Matris. It’s a high-profile dance show that promises a bright future to its hand-picked performers. Despite Mara’s talent, she finds herself at odds with her mentor and troupe leader Mercedes Lagdameo (Ramona) when she falls for her Spanish son Enrique (Gatmaitan). Mara is suddenly torn between two passions, and in her desperate attempt to keep both, she runs the risk of losing it all. (Kristn)

MTRCB Rating: PG-13

Running Time: 120 mins

Trailer: 

Reviews:

4.0         Tito Valiente (Business Mirror)

“In Nomine Matris remains one of the most thematically daring and, ultimately, most visually compelling of films produced in this republic.” (Read full review)

4.0          Chikkaness Avenue

“In Nomine Matris is a visually stunning, compelling work of art with powerhouse performances from its entire cast.” (Read full review)

3.5          Philbert Dy (Click the City)

“Within that framework of ridiculousness, within the soap operatic twists and turns, the dance emerges as the perfect solution. Feet stomp, hands clap, and skirts flare, and even the darkest of dramas dissipate between beats.” (Read full review)

3.5          Skilty Labastilla (Young Critics Circle)

“In Nomine Matris is burdened by an overly dramatic third act but the film is a joyous celebration of womanhood and of a dance form which, even if foreign in origin, is perfectly suited to the Pinoy temperament.”

3.5          Rito Asilo (Philippine Daily Inquirer)

“Fredo’s latest movie showcases his continually evolving gifts as a filmmaker.” (Read full review)

3.0          Zig Marasigan (Kristn)

“In spite of its flaws, it’s hard to argue against the film’s captivating milieu. The fusion of Spanish and Filipino cultures is something not often seen in local cinema, especially in the context of dance.” (Read full review)

2.5          Mario Bautista (Showbiz Portal)

“The dancing in the movie ranges from good to great, but the story writer-director Will Fredo has wrapped around the dance sequences is not.” (Read full review)

Below are the individual ballots of the invited respondents:

Joey Agbayani (Director; Lola, Kidlat)

Maynila sa mga Kuko ng Liwanag (Lino Brocka)
Kisapmata (Mike de Leon)
Karnal (Marilou Diaz-Abaya)
Oro Plata Mata (Peque Gallaga)
Himala (Ishmael Bernal)

*

Adolfo Alix, Jr. (Director; Haruo, Kalayaan)

Biyaya ng Lupa
Kisapmata
Pagputi ng Uwak, Pag-itim ng Tagak
Nunal sa Tubig
Insiang
Bayan Ko: Kapit sa Patalim
Manila by Night
Ebolusyon ng Pamilyang Pilipino
Brutal
Malvarosa

*

Misha Anissimov (Film Professor, University of San Carlos)

Juan Tamad Goes to Congress (Manuel Conde)
Oro, Plata, Mata (Peque Gallaga)
Ganito Kami Noon, Paano Kano Ngayon? (Eddie Romero)
Badlis sa Kinabuhi (Leroy Salvador, Jr.)
Ang Damgo ni Eleuteria (Remton Zuasola)
Kisapmata (Mike De Leon)
Orapronobis (Lino Brocka)
Himala (Ishmael Bernal)
Ebolusyon ng Isang Pamilyang Pilipino (Lav Diaz)
Mababangong Bangungot (Kidlat Tahimik)

Honorable mention:
Halaw (Sheron Dayoc)
Ang Mundo Sa Panahon Ng Bato (Mes de Guzman)
Independencia (Raya Martin)
Himpapawid (Raymond Red)

Notes:

1.Although I’ve never had the opportunity to see Juan Tamad Goes to Congress (only clips), I included it because based on what I’ve read it seems a film way ahead of its time, and seems to strike an incredible balance between social commentary and commercial genre (comedy) convention. How I wish to see the whole thing.

2. There are 2 Visayan films on the list …Ang Damgo ni Eleuteria & Badlis sa Kinabuhi…..both remarkable in their own way. They almost seem like companion pieces in that they both address societal (more of a provincial point of view than and urban poverty porn milieau) issues of women struggling to support their families & the resulting exploitation the protagonists and families are forced to deal with…..one set in the present and the other set 45 years earlier.

3. I could not resist adding 3 films as “honorable mentions”…also each remarkable in their own way. Perhaps over many years they will rise in the ranks of Filipino film canons.

*

Dwein Tarhata Baltazar (Director, Mamay Umeng)

1. Kisapmata
2. Himala
3. Tinimbang Ka Ngunit Kulang
4. Batch 81
5. Bona
6. Oro Plata Mata
7. Segurista
8. Tag-ulan sa Tag-araw
9. One More Chance
10. Jologs

*

Joey Baquiran (Member, Young Critics Circle Film Desk)

1. Manila By Night
2. Pinakamagandang Hayop sa Balat ng Lupa
3. Himala
4. Maynila sa Kuko ng Liwanag
5. Biyaya ng Lupa
6. Kisapmata
7. Salome
8. Miguelito
9. Ang Tatay Kong Nanay
10. Karnal

*

John Bedia (Writer; Amok, Boundary)

Fatima Buen Story (Mario O Hara) A tabloidish pinoy story, given a surrealistic, Luis Bunuelish flourish.

Magnifico (Mario J. De Los Reyes) Beautiful script. Michiko’s best. The ensembles solid acting and Maryo J De los Reyes fluid direction tempers the material’s inherent melodramatic potential.

Misteryo sa Tuwa (Abbo De la Cruz) My personal best. Underrated. Narratively simple yet complex. A modern parable. Ama Quiambao’s mother role is the best matriarch character ever in Pinoy Cinema.

Tuhog (Jeffrey Jeturian) Perfect blend of script and direction. The movie is Witty and smart. Funny and sad but at the same time, true.

Biyaya ng Lupa (Manuel Silos) The Best FILIPINO FAMILY DRAMA ever. Universal and timeless.

Manila By Night (Ishmael Bernal) Bernal effortlessly juggles between different characters, story and place with ease and the skill of a magician and master.

Tinimbang Ka Ngunit Kulang (Lino Brocka) A searing and excellent social commentary.

Kisapmata (Mike De Leon) Masterful craftsmanship. Across the board triumph.

Tirador (Brilliante Mendoza) Mendoza’s best. Sharp and Raw.

(*tie) Karnal (Marilou Diaz Abaya) Theatrical and showy. Dark and twisted. A different take on family intrigue and small town set hiding a dark secret story. Charito Solis performance is for the books.

and

Oro, Plata, Mata (Peque Gallaga) Epic.

Worth Mentioning:

Ligaya and Itawag Mo Sa Akin (Carlitos Siguion Reyna)
Jay (Francis Pasion)
Scorpio Nights (Peque Gallaga)
Dahas (Chito Rono)
Hinugot sa Langit (Ishmael Bernal)

*

Theodore Boborol (Writer; My Big Love, Kelly! Kelly! Ang Hit na Musical)

Maynila sa Kuko ng Liwanag
Manila by Night
Batch 81
Confessional
Kinatay
Himala
Ang Pagdadalaga ni Maximo Oliveros
Tuhog
Pare Ko
Aswang episode of Shake Rattle and Roll 2

*

Lex Bonife (Writer; Ang Lalake sa Parola, Ang Lihim ni Antonio)

Himala (Ishmael Bernal) – a Filipino classic

Babae sa Breakwater (Mario O’Hara) – an image of poverty in color and style

Scorpio Nights (Peque Gallaga) – erotica at its best

Bridal Shower (Jeffrey Jeturian) – it’s rare for Philippine comedy not to be stupid. So this should be on my list

Thy Womb (Brillante Mendoza) – an elegant and a modern step in Philippine Cinema

Bwakaw (Jun Lana) – the best Filipino gay film so far

Ikaw Pa Lang ang Minahal – Carlitos Siguion Reyna was the gem of the 90’s

Posas (Lawrence Fajardo) – an honest and gritty portrait of Philippine corruption

Kailangan Kita (Rory Quintos) – Star Cinema at its finest

Katas ng Saudi (Joey Reyes) – an honest portrait of the Filipino family fractured by the OFW phenomenon

*

Patrick Campos (Professor, UP Film Institute)

Lino Brocka’s Maynila sa Mga Kuko ng Liwanag
Ishmael Bernal’s Himala
Mike de Leon’s Bayaning 3rd World
Lamberto Avellana’s Portrait of the Artist as Filipino
Manuel Conde’s Genghis Kahn
Manuel Silos’ Biyaya ng Lupa
Peque Gallaga’s Oro Plata Mata
Raya Martin’s Independencia
Eddie Romero’s Ganito Kami Noon, Paano Kayo Ngayon?
Kidlat Tahimik’s Bakit Yellow ang Middle ng Rainbow?

*

Libay Cantor (Professor, UP Film Institute)

– Manila By Night

Gotta love Ishma. The first truly all spectrum queer-inclusive Pinoy film for me. You got the L, G, B and even the T and Q in there. Plus the fact that it was subversive for its time yet it remained artistically intact is something to take note of.

– Shake Rattle and Roll

Pinoys love a good scare regardless if it comes from our own folklore or an invented candidate for urban legend-hood. I mean, yung ref nangre-rape and a sexy manananggal gets beaten by a blessed palaspas! Galing!

– Maynila sa Kuko ng Liwanag

Social realism at its finest, and I think Brocka’s best work talaga. Well acted, nice shots, almost documentary feel ang atmosphere yet the fictional story is poignantly put to life from the novel.

– Bagets

I mean come on, every generation tends to come up with their own quintessential youth flick, but really, it’s Bagets that wins ‘em over. It was really able to capture the Pinoy youth of that decade, and if you look at how it captured it, it was more honest and more daring than youth films of today. Like hello cougar ang jowa ni teen! Sankapa. Among other things.

– Ang Pagdadalaga ni Maximo Oliveros

Concept pa lang — pagdadalaga ng boylet — patok na. What more the rest of the narrative and the unforgettable character and actor that portrayed him. Never mind if it was shot so Star Cinematically polished for an “indie film” but hey, it works.

– Here Comes the Bride

Parang Pinoy films work with ensemble cast. Mas better ang support system na nangyayari sa narrative. This is what happened here. Direk Chris Martinez did a good job of stitching this film together. The humor was great!

– Scorpio Nights

So whenever they say the Filipino is conservative and devoid of sensuality ek, please direct them to old(!) movies and redirect them to this one. Yes, as a culture, we have kink. And even if we don’t say it out loud, the movies are proof that some things do exist in our culture. Like this one.

– Kakabakaba Ka Ba?

Who says Pinoys can’t be philosophically witty and satirical at the same time? All the things we should be right now, nalipasan na at naiwan na lang sa film vault of history natin, like this one. Our old films like this one are actually very modern kung tutuusin. Loved the humor on this one.

– Working Girls

Ishma could also do comedy. Great material of contemporary life and again, modern na old film! Everything they do today pales in comparison dito, and yet dapat mas “modern” tayo ngayon di ba? The irony of things in this country, best captured and encapsulated by our films.

– Bata, Bata, Paano Ka Ginawa?

Maganda talaga ang pelikulang Pilipino kung ang nasa puso nito ay isang magandang kuwento. Like this one. It helped that Chito Rono got the essence of the story and Ate Vi got the essence of the character. Swak lang kay Lualhati.

*

Jan Philippe Carpio (Director; Balay Daku, Girl of My Dreams)

In no particular ranking and unfortunately not having seen many of the works of many Filipino filmmakers, both recognized and neglected.

Biyaya ng Lupa (Manuel Silos)

A film that showed me how the limiting form of film genre can be used to open us up into forms of living that challenge our commonly held biases and judgments by teaching us selflessness, compassion and forgiveness.

Mababangong Bangungot (Kidlat Tahimik)

A film that showed me how film can be anything and it is we who limit it, how “limited” resources can be turned into a great wellspring for creative freedom, and the independence of our souls is just as if not more important than political independence.

Broken Marriage (Ishmael Bernal)

A film that showed me for the first time an example from Philippine cinema that explored the inexplicable, fleeting, ever-changing, twisting, contradictory, paradoxical realm of emotions and feelings that is both a trap and a way to freedom.

Tinimbang Ka Ngunit Kulang (Lino Brocka)

A film that exposed the hypocrisy and collusion between the elite, the community and the religious and showed how much the dictates of society are incompatible with real love and compassion.

Heremias Book 1: Ang Alamat ni Prinsesang Bayawak (Lav Diaz)

A film that transformed my perception of the possibilities of cinematic time and space, a spiritual and yet also physical portrait of a particular Filipino soul and an experience similar to how film critic Acquarello describes Andrei Tarkovky’s final film The Sacrifice “the beauty of … sacrifice is that no one realizes what he is trying to do (and the lengths that he will go to) … a true sacrifice.”

Riles (Ditsi Carolino)

In a cinema accused of “poverty pornography” and “festival filmmaking”, the film showed me how much filmmakers and media producers (especially television pracitioners) impose their own notions of narrative and “drama” on life and how much the experience of life, particularly the paradoxical natures of our emotions and spirits, is much more than our limited ideas of it.

Ang Isla sa Dulo ng Mundo (Raya Martin)

A film that showed me the possibilities of the documentary form beyond the conservative opinion column type, advocacy and propagandistic types of documentary that tend to dominate, and instead moving towards an involved observation, exploration and comparison of different perspectives of experience.

Moral (Marilou Diaz Abaya)

A film that shattered the myth of separating the personal and the political and the tyranny of our film audience and life expectations of people.

Ganito Kami Noon, Paano Kayo Ngayon? (Eddie Romero)

A film that showed me how much of personal experience and perspective is left out of history and experiences, and how much of history has become myth making instead of a genuine investigation into the possibilities of experiences.

The Great Smoke (Roxlee)

A film that showed me how much of experience and life has been replaced by impositions of egotistical and dangerous beliefs about “reality”.

*

Jade Castro (Director; Endo, Zombadings)

1. Batang West Side (Lav Diaz, 2001)
2. Maynila sa mga Kuko ng Liwanag (Lino Brocka, 1975)
3. Scorpio Nights (Peque Gallaga, 1985)
4. Pila Balde (Jeffrey Jeturian, 1999)
5. Sibak: Midnight Dancers (Mel Chionglo, 1994)
6. Manila by Night (Ishmael Bernal, 1980)
7. Autohystoria (Raya Martin, 2007)
8. Victory Joe (Manuel Silos, 1946)
9. Temptation Island (Joey Gosiengfiao, 1980)
10. Kesong Puti (Mauro Gia Samonte, 1997)
11. Babae sa Breakwater (Mario O’Hara, 2003)

*

Zurich Chan (Director; Teoriya, Boca)

Engkwentro (Pepe Diokno)
Sayaw ng Dalawang Kaliwang Paa (Alvin Yapan)
100 (Chris Martinez)
Niño (Loy Arcenas)
Sa Kanto ng Ulap at Lupa (Mes De Guzman)
Wanted: Border (Ray Gibraltar)
Busong (Auraeus Solito)
Sampaguita (Francis Pasion)
Ang Damgo ni Eleuteria (Remton Zuasola)
Amok (Law Fajardo)

*

Ina Avellana Cosio (Senior Lecturer, UP Film Institute)

Anak Dalita (Lamberto Avellana)
Badjao (Lamberto Avellana)
Portrait of the Artist as Filipino (Lamberto Avellana)
Maynila sa Kuko ng Liwanag (Lino Brocka)
Manila by Night (Ishmael Bernal)
Himala (Ishmael Bernal)
Babae sa Breakwater (Mario O’Hara)
Bayaning Third World (Mike de Leon)
Kubrador (Jeffrey Jeturian)
Kinatay (Brillante Mendoza)

*

Sari Dalena (Director; Ka Oryang, Himala Ngayon)

1. Himala (Ishmael Bernal)
2. Maynila sa Kuko ng Liwanag (Lino Brocka)
3. Itim (Mike de Leon)
4. Perfumed Nightmare (Kidlat Tahimik)
5. Anak Dalita (Lamberto Avellana)
6. Oro Plata Mata (Peque Gallaga)
7. Karnal (Marilou Diaz-Abaya)
8. Batang Westside (Lav Diaz)
9. Si Suring at ang Kuk-ok (Auraeus Solito) and Magpakailanman (Raymond Red)
10. Independencia (Raya Martin)

*

Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)

Oro Plata Mata (Peque Gallaga)
Kisapmata (Mike de Leon)
Himala (Ishmael Bernal)
Itim (Mike de Leon)
Mababangong Bangungot (Kidlat Tahimik)
Ang Tatay Kong Nanay (Lino Brocka)
Maynila sa mga Kuko ng Liwanag (Lino Brocka)
Ganito Kami Noon Paano Kayo Ngayon? (Eddie Romero)
City after Dark (Ishmael Bernal)
Insiang (lino Brocka)

*

Archie del Mundo (Director; Taksikab, Ang Misis ni Meyor)

1. Orapronobis (1989) Lino Brocka
2. Maynila sa Mga Kuko Ng Liwanag (1975) Lino Brocka
3. City after Dark (1980) Ishmael Bernal
4. Batch 81 (1982) Mike De Leon
5. Himala (1982) Ishmael Bernal
6. Tatlong Taong Walang Diyos (1976) Mario O’Hara
7. Biyaya ng Lupa (1959) Manuel Silos
8. Condemned (1984) Mario O’Hara
9. Lucia (1992) Mel Chionglo
10. Misteryo sa Tuwa (1984) Peque Gallaga

*

Wenn Deramas (Director; Ang Tanging Ina, Praybeyt Benjamin)

As a filmmaker, importante sa akin ang mga pelikulang alam nila ang objective nila at napagtagumapayan nilang maihatid ito sa mga manunuod, seryoso man ito fantasy o komedya. Importante ang ang entertainment value sa akin ano man ang tema ng pelikula dahil sine ito at nagbabayad ang mga tao. So, heto ang aking 10 films but i can write 100 if you want, adik rin rin ako sa panunuod ng pelikula.

1. Insiang – Tatatlo lamang ang tauhan, isang masikip at mabahong lugar, pero nabuo ang kwento ng pagmamahal, betrayal at paghihiganti, napakaganda ng characterization ni Insiang at ng nanay niya.

2. Himala – Malaking Pelikula na nagpapakita ng paniniwala/pananampalataya nating mga Pilipino, hinaluan pa ng init at gutom, ito ang pwedeng mangyari.

3. Ina Ka ng Anak Mo – Again, tatlong tauhan sa isang bahay, na kinalimutan ang mga posisyon sa loob ng bahay at lipunan. Napakahusay ni Nora at Lolita.

4. Inday Bote/Inday Inday sa Balitaw – Comedy ito pero may laman at punong puno ng aral, napakahusay ni Maricel at hawak nya ang manunuod, may kaeksena man sya o nagsasalitang mag-isa.

5. Relasyon – Si  Vilma Santos ang buong pelikula, maaaring istorya or a day in a life lamang ito ng isang kabit, pero sa sobrang husay ng ibinigay nii Vilma, lumaki ang buong pelikula.

6. Ang Tanging Ina – Hindi dahil sa ako ang gumawa nito pero binago at gumawa ng sariling brand ng comedy ang pelikulang ito.

7. Kung Mahawi Man ang Ulap – Mula sa komiks ginawa ni Laurice Guillen na makatotohanan ang isang melodrama at napagalaw niya ang mga tauhan ng naaayon at hindi lumabis sa dapat asahan.

8. Atsay – Napaka-advance nito para sa panahon nya nuon, mounting and storytelling ang ibig kong sabihin, pantay rin nyang naisadula ang kwento ng amo sa katulong, may pagmamalabis ang amo, ganuon rin ang mga katulong na pumatol sa amo dahil sa pera.

9. Bituing Walang Ningning/Hinugot sa Langit – Magkaibang magkaiba ang genre at tema pero parehong nagbigay kulay kung ano ang meron sa mga pilipino, ang maging escapist at aliwin ang sarili sa pamamagitan ng mga idolo at pelikula, at ang pagtakbo sa responsibilidad, kahirapan at moralidad dahil sa pansariling kapakanan. Pero parehong hindi nakalimutan ang commercial values ang dalawang pelikulang ito.

10. Darna ni Rosa del Rosario/Dyesebel ni Edna Luna – Pinapakinabangan natin magpahanggang ngayon ang mga pelikulang ito higit sa anumang mga pelikulang ipinadadala natin abroad! Bakit? Dahil ito ang Pelikula.

*

Jojo Devera (Film Writer, Sari-Saring Sineng Pinoy) 

THE PASSIONATE STRANGERS (MJP Productions, 1968)

Directed By: Eddie Romero

The Passionate Strangers exhibits visuals that capture the topography of the film’s location and the lives of its damned inhabitants. It established progression in the narrative as well as nuances in the behavior, character and action of the dramatis personae simply by resorting to adept composition and minimalist camera approach.

BATCH ’81 (MVP Pictures, 1982)

Directed By: Mike de Leon

Ostensibly the story of seven young men who join a college fraternity, Batch ’81 is an orgy of physical and psychological violence. What makes the film classic is its use of the technical virtuosity displayed by Mike de Leon to convey political, social and philosophical meaning.

EBOLUSYON NG PAMILYANG PILIPINO (Sine Olivia, 2004)

Directed By: Lav Diaz

Ebolusyon Ng Pamilyang Pilipino is a powerful movie. It is a movie that makes us abide by the torment and agony that is Philippine history in the last thirty years. It relieves the darkness of Martial Law, the dilemmas of the Aquino transition and the bedlam that constitutes the present. The movie explains much of the horror and confronts it.

TUBOG SA GINTO (LEA Productions, 1971)

Directed By: Lino Brocka

Based on a Mars Ravelo serial, Tubog Sa Ginto dared to explore the life of a married homosexual, a bold pioneering attempt to treat the subject with honesty and compassion.

NUNAL SA TUBIG (Crown Seven Film Productions, 1976)

Directed By: Ishmael Bernal

A landmark in Philippine filmmaking. Aside from showcasing connotative employment of the filmic language, it is the first Filipino film that comes closest to projecting a statement not about conditions obtained in the Philippine countryside but about a universal issue generally designated as the human condition.

ANG KABIYAK (Trigon CInema Arts, 1980)

Directed By: Danny L. Zialcita

One of the few movies about upper middle-class denizens which reflects a wry, clever and ironically humurous sensibility while exposing the sham and dry rot of smiles, handshakes, hugs and kisses between husbands, wives, friends and lovers.

HUWAG MO AKONG LIMUTIN (Premiere Productions, 1960)

Directed By: Gerardo de Leon

A sex melodrama of men and women trapped in a society corroded by lust and money treated with sensitivity and intellectual content.

A PORTRAIT OF THE ARTIST AS FILIPINO (Diadem Pictures, 1965)

Directed By: Lamberto V. Avellana

A poignant elegy to the custom and ceremony that died with a city and the the innocence and beauty that lived too briefly.

ANG ALAMAT (FPJ Productions, 1972)

Directed By: Celso Ad Castillo

Innovative and daring. Castillo made over the Filipino cowboy movie in this film about a reluctant hero, a former Huk rebel who hopes to find peace by going back to his hometown only to find out that g=he has to go back to gun fighting in order to rid the place of bad elements.

VIRGIN FOREST (Regal Films, 1985)

Directed By: Peque Gallaga

Gallaga has been able to bring to a focus his varied talents in Virgin Forest. The lyrical exuberance with which he invests starkly realistic situations and the intense confrontations among his characters, and found fellow artists with temperaments congenial to his in the coming together of skills that make film art possible.

*

Gary Devilles (Professor, Kagawaran ng Filipino, Ateneo de Manila University)

1. Kung Mangarap Ka’t Magising
2. Aguila
3. Kakabakaba Ka Ba?
4. Ang Tatay Kong Nanay
5. Orapronobis
6. Salome
7. Sister Stella L.
8. Himala
9. Insiang
10. Ang Pagdadalaga ni Maximo Oliveros

*

Zig Dulay (Writer; Posas, Ad Ignorantiam)

Batch ’81 (Mike de Leon)
Himala (Ishmael Bernal)
Lola (Brillante Mendoza)
Magnifico (Maryo J. delos Reyes)
Moral (Marilou Diaz-Abaya)
Orapronobis (Lino Brocka)
Relasyon (Ishmael Bernal)
Scorpio Nights (Peque Gallaga)
Thy Womb (Brillante Mendoza)
Tuhog (Jeffrey Jeturian)

*

Katski Flores (Director; Still Life, Dreamboy)

Himala (Ishmael Bernal)
Kisapmata (Mike de Leon)
Kakabakaba Ka Ba? (Mike de Leon)
Itim (Mike de Leon)
Sana Maulit Muli (Olivia Lamasan)
Lucia (Mel Chionglo)
Oro Plata Mata (Peque Gallaga)
Ang Pagdadalaga ni Maximo Oliveros (Auraeus Solito)
Madrasta (Olivia Lamasan)
Anak (Rory Quintos)

*

Patrick Flores (Founding Member, Young Critics Circle Film Desk)

Burlesk Queen
Genghis Khan
Satur
Itim
Tatlong Taong Walang Diyos
Perfumed Nightmare
Bayan Ko/Kapit sa Patalim
Itanong Mo sa Buwan
Broken Marriage
Luksang Tagumpay

*

Benjamin Garcia (Director; Batad: Sa Paang Palay, Malan)

1. “Himala”
2. “Itim”
3. “Maynila: Sa Mga Kuko ng Liwanag”
4. “Insiang”
5. “Bona”
6. “Ganito Kami Noon, Paano Kayo Ngayon?”
7. “The Moises Padilla Story”
8. “Noli Me Tangere”
9. “El Filibusterismo”
10. “Nunal sa Tubig”

*

Jag Garcia (Film Professor, De la Salle-College of Saint Benilde)

Itim (Mike de Leon)
Himala (Ishmael Bernal)
Insiang (Lino Brocka)
Maynila sa Mga Kuko ng Liwanag (Lino Brocka)
Oro, Plata, Mata (Peque Gallaga)
AKO Batch ’81 (Mike de Leon)
Ang Pagdadalaga ni Maximo Oliveros (Auraeus Solito)
Mababangong Bangungot (Kidlat Tahimik)
Oliver (Nick Deocampo)
Shake, Rattle & Roll 1 (Maning Borlaza, Ishmael Bernal, Peque Gallaga)

*

Christopher Gozum (Director; Anacbanua, Lawas Kan Pinabli)

1. Manila By Night (Ishmael Bernal)
2. Nunal sa Tubig (Ishmael Bernal)
3. Maynila sa mga Kuko ng Liwanag (Lino Brocka)
4. Sisa (Gerardo de Leon)
5. Noli Me Tangere (Gerardo de Leon)
6. Biyaya ng Lupa (Manuel Silos)
7. Malvarosa (Gregorio Fernandez)
8. Pagdating sa Dulo (Ishmael Bernal)
9. Ebolusyon ng Pamilyang Pilipino (Lav Diaz)
10. Mababangong Bangungot (Lav Diaz)

*

Jerry Gracio (Writer; Mater Dolorosa, Aparisyon)

1. Maynila sa Kuko ng Liwanag, Lino Brocka (1975)
2. Biyaya ng Lupa, Manuel Silos (1959)
3. Sanda Wong, Gerardo de Leon (1955)
4. Tatlong Taong Walang Diyos, Mario O’Hara (1976)
5. Pagputi ng Uwak, Pag-itim ng Tagak, Celso ad Castillo (1978)
6. Himala, Ishmael Bernal (1982)
7. Kisapmata, Mike de Leon (1981)
8. Agila, Eddie Romero (1980)
9. Nunal sa Tubig, Ishmael Bernal (1976)
10. Babae sa Breakwater, Mario O’Hara (1984)

*

Eli Guieb (Associate Professor, UP Department of Broadcast Communication)

1. Nunal sa Tubig, Ishmael Bernal
2. Manila by Night, Bernal
3. Sister Stella L, Mike de Leon
4. Orapronobis, Lino Brocka
5. Himala, Bernal
6. Maynila, sa mga Kuko ng Liwanag, Brocka
7. Ganito Kami Noon, Paano Kayo Ngayon, Eddie Romero
8. Pagdating sa Dulo, Bernal
Sisa, Mario O’Hara
9. Babae sa Breakwater, Mario O’Hara
Burlesk Queen, Celso Ad. Castillo
10.  Bayaning Third World, M. de Leon
Engkwentro, Pepe Diokno

*

Chuck Gutierrez (Producer, MNL 143; Director, Ulian)

Maynila sa mga Kuko ng Liwanag
Insiang
Genghis Khan
Kisapmata
Batch ’81
Bayaning 3rd World
Tuhog
Himala
Kinatay
Laro sa Baga

*

Joni Gutierrez (Professor, UP Film Institute)

1.            Insiang (Lino Brocka, 1976)
2.            Himala (Ishmael Bernal, 1982)
3.            Tatlong Taong Walang Diyos (Mario O’Hara, 1976)
4.            Biyaya ng Lupa (Manuel Silos, 1959)
5.            Ang Pagdadalaga ni Maximo Oliveros (Auraeus Solito, 2005)
6.            Bayan Ko: Kapit sa Patalim (Lino Brocka, 1985)
7.            Ganito Kami Noon… Paano Kayo Ngayon? (Eddie Romero, 1976)
8.            Oro Plata Mata (Peque Gallaga, 1982)
9.            Kisapmata (Mike De Leon, 1981)
10.          Jose Rizal (Marilou Diaz-Abaya, 1998)

*

Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)

1. Batang West Side (Lav Diaz)
2. Kisapmata (Mike de Leon)
3. Maynila sa mga Kuko ng Liwanag (Lino Brocka)
4. Anak Dalita (Lamberto Avellana)
5. Biyaya ng Lupa (Manuel Silos)
6. Manila by Night (Ishmael Bernal)
7. Insiang (Lino Brocka)
8. Ganito Kami Noon, Paano Kayo Ngayon (Eddie Romero)
9. Lola (Brillante Mendoza)
10. Nunal sa Tubig (Ishmael Bernal)

*

Jason Jacobo (Member, Young Critics Circle Film Desk)

1. Hinugot sa Langit (Ishmael Bernal, 1985)
2. Batch ’81 (Mike de Leon, 1982)
3. Miguelito: Ang Batang Rebelde (Lino Brocka, 1985)
4. Tatlong Taong Walang Diyos (Mario O’Hara, 1976)
5. Pagputi ng Uwak, Pag-itim ng Tagak (Celso Ad. Castillo, 1978)
6. Biyaya ng Lupa (Manuel Silos, 1959)
7. Banaue (Gerardo de Leon, 1975)
8. Temptation Island (Joey Gosiengfiao, 1980)
9. Anak Dalita (Lamberto Avellana, 1956)
10. Palabra de Honor (Danny Zialcita, 1983)

*

Antoinette Jadaone (Director; Six Degree of Separation from Lilia Cuntapay, Tumbang Preso)

1. Oro Plata Mata
2. Himala
3. Manila by Night
4. Hinugot sa Langit
5. Bayaning Third World
6. Don’t Give Up On Us
7. One More Chance
8. Working Girls
9. Sa Huling Paghihintay
10. Magic Temple

*

Jeffrey Jeturian (Director; Kubrador, Pila Balde)

Maynila sa Kuko ng Liwanag (Lino Brocka)
Ganito Kami Noon, Paano Kayo Ngayon? (Eddie Romero)
Kisapmata (Mike de Leon)
Burlesk Queen (Celso Ad. Castillo)
Insiang (Lino Brocka)
Batang Westside (Lav Diaz)
Babae sa Breakwater (Mario O’Hara)

*

Coreen Jimenez (Director, Kano: An American and His Harem)

Disclaimer: My list changes all the time depending on the mood.

Salawahan – Bernal really knows his comedy. I love watching this movie over and over again. One time, I also watched this film in a very intimate screening with Matt Ranillo. That was so fun!

Kisapmata – This movie still gives me goosebumps.

Maynila sa mga Kuko ng Liwanag – this is like my Citizen Kane. It just had to be in my list.

Ang Tatay Kong Nanay – Because Dolphy is my hero

Ebolusyon ng Pamilyang Pilipino – This opened my eyes about watching movies. I didn’t know I was actually going to appreciate watching a 10-hour movie. Lav is crazy!

Burlesk Queen – That long dance sequence of Chato is movie magic, it’s one of the most mesmerizing scenes ever shot.

Magnifico – I always watch this movie whenever I see it in cable. There’s something special about this movie.

Kakabakaba Ka Ba? – Just like Salawahan, I love watching this movie over and over.

Bagets – The structure of this film is so flawed and there are so many loopholes in the script but it all makes sense in the end. Feels so much like the movie of my generation.

Todo Todo Teros – I’ve only seen this movie once but it was unflinchingly honest and raw that I’m so scared for John Torres. I applaud the honesty, it’s like reading someone’s diary.

here are my runners-up:

1. Ang Paglilitis ni Andres Bonifacio (Mario O’Hara)
2. Maicling Pelicula Nang Ysang Indio Nacional (Raya Martin)
3. Riles (Ditsi Carolino)
4. Oro Plata Mata (Peque Gallaga)
5. Himala (Ishmael Bernal)

*

Ralston Jover (Director; Bakal Boys, Marlon)

1. Maynila Sa Kuko Ng Liwanag (Lino Brocka)
2. Himala (Ishmael Bernal)
3. Kubrador (Jeffrey Jeturian)
4. Ganito Kami Noon, Paano Kayo Ngayon? (Eddie Romero)
5. Nunal sa Tubig (Ishmael Bernal)
6. Perfumed Nightmares (Kidlat Tahimik)
7. Magnifico (Maryo J. delos Reyes)
8. Kisapmata (Mike de Leon)
9. Milagros (Marilou Diaz-Abaya)
10. Manila By Night (Ishmael Bernal)

*

Skilty Labastilla (Member, Young Critics Circle Film Desk)

1. Batch ’81, Mike de Leon (1982)
2. Himala, Ishmael Bernal (1982)
3. Mababangong Bangungot, Kidlat Tahimik (1977)
4. Genghis Khan, Manuel Conde (1950)
5. Kisapmata, Mike de Leon (1981)
6. Ganito Kami Noon…Paano Kayo Ngayon?, Eddie Romero (1976)
7. Insiang, Lino Brocka (1976)
8. Ang Damgo ni Eleuteria, Remton Siega Zuasola (2010)
9. Tinimbang Ka Ngunit Kulang, Lino Brocka (1974)
10. Bagets, Maryo J. delos Reyes (1984)

*

Nonoy Lauzon (Programmer, UP Film Institute)

1. Pagputi ng Uwak, Pag-itim ng Tagak (Celso Ad. Castillo)
2. Itim (Mike de Leon)
3. Manila By Night (Ishmael Bernal)
4. Nagalit ang Buwan sa Haba ng Gabi (Danny Zialcita)
5. Emily (Gregorio Fernandez)
6. Kontrobersyal (Lino Brocka)
7. Anak Dalita (Lamberto Avellana)
8. Lilet (Gerardo de Leon)
9. Biyaya ng Lupa (Manuel Silos)
10. Tatlong Taong Walang Diyos (Mario O’Hara)

*

Jon Lazam (Director; Nang gabing maging singlaki ng puso ang bato ni Darna, Hindi sa Atin ang Buwan)

Kung Mangarap Ka’t Magising (Mike De Leon, 1977)
Now Showing (Raya Martin, 2008)
Ang Alamat ni Julian Makabayan (Celso Ad. Castillo, 1979)
Pangarap ng Puso (Mario O’Hara, 2000)
Salawahan (Ishmael Bernal, 1979)
Orbit 50: Letters to My 3 Sons (Kidlat Tahimik, 1992)
Ebolusyon ng Isang Pamilyang Pilipino (Lav Diaz, 2004)
Kisapmata (Mike De Leon, 1981)
Pagputi ng Uwak, Pag-itim ng Tagak (Celso Ad. Castillo, 1978)
Ang Ninanais (John Torres, 2010)

*

Eileen Legaspi-Ramirez (Art Studies Professor, UP Diliman)

Himala (Ishmael Bernal)
Bayaning Third World (Mike de Leon)
Bakal Boys (Ralston Jover)
Kamera Obskura (Raymond Red)
Bulaklak ng Maynila (Joel Lamangan)
Manila by Night (Ishmael Bernal)
Bulaklak sa City Jail (Mario O’Hara)
Salawahan (Ishmael Bernal)
Biyaheng Lupa (Armando Lao)
Tinimbang Ka Ngunit Kulang (Lino Brocka)

*

Ed Lejano (Director, UP Film Institute)

1) Maynila sa Kuko ng Liwanag
2) Biyaya ng Lupa
3) Kisapmata
4) Scorpio Nights
5) Manila by Night
6) Serbis
7) Kubrador
8) Ang Damgo ni Eleuteria
9) Burlesk Queen
10) Batang West Side

*

Jet Leyco (Director; Ex Press, Patlang)

Kisapmata – M. De Leon
Death in the Land of Encantos – Lav Diaz
The Middle Mystery of Kristo Negro – K. de la Cruz
Todo Todo Teros – John Tores
Itim – M. De Leon
Maynila sa Kuko ng Liwanag – Brocka
Kinatay – B.Mendoza
Himala – Bernal
Huling Balyan ng Buhi – Sherad Sanchez
Confessional – Jerold Tarog

*

Gerard Lico (Member, Young Critics Circle Film Desk)

Higit sa Lahat
Malvarosa
Maynila sa mga Kuko ng Liwanag
Luksang Tagumpay
Biyaya ng Lupa
Manila by Night
Giliw Ko
ROTC
Himala
Oro Plata Mata

*

Ian Loreños (Director; Alagwa, The Leaving)

These are the films that changed how I see Philippine cinema. And also how much the impact these films raised the level of Philippine cinema internationally.

1. Aguila (Eddie Romero)

The rest are in no particular order:

Himala (Ishmael Bernal)
Batch 81 (Mike de Leon)
Kisapmata (Mike de Leon)
Insiang (Lino Brocka)
Maynila: Sa mga Kuko ng Liwanag (Lino Brocka)
City after Dark (Ishmael Bernal)
Batang Westside (Lav DIaz)
Ang Pagdadalaga ni Maximo Oliveros (Solito)
Tinimbang Ka ngunit Kulang (Brocka)

Runners-up:

Masahista (Brilliante Mendoza)
Lola (Brillante Mendoza)
Relasyon (Ishmael Bernal)
Bayaning Third World (Mike de Leon)

*

Bienvenido Lumbera (National Artist for Literature)

Ganito Kami Noon, Paano Kayo Ngayon? (Eddie Romero)
Kisapmata (Mike de Leon)
Himala (Ishmael Bernal)
Huwag Mo Akong Limutin (Gerardo de Leon)
Manila by Night (Ishmael Bernal)
Orapronobis (Lino Brocka)
Maynila sa mga Kuko ng Liwanag (Lino Brocka)
Biyaya ng Lupa (Manuel Silos)
Moral (Marilou Diaz-Abaya)
Karnal (Marilou Diaz-Abaya)
Oro Plata Mata (Peque Gallaga)

*

Dado Lumibao (Director; In da Red Corner, Must Be Love)

1. HIMALA (Ishmael Bernal, 1982)
2. GANITO KAMI NOON, PAANO KAYO NGAYON? (Eddie Romero, 1976)
3. KISAPMATA (Mike de Leon, 1981)
4. MAYNILA SA KUKO NG LIWANAG (Lino Brocka, 1975)
5. ORO, PLATA, MATA (Peque Gallaga, 1982)
6. MANILA BY NIGHT (Ishmael Bernal, 1980)
7. TINIMBANG KA NGUNIT KULANG (Lino Brocka, 1974)
8. THY WOMB (Brillante Mendoza, 2012)
9. KAKABA KABA KA BA? (Mike de Leon, 1980)
10. KUBRADOR (Jeffrey Jeturian, 2006)

*

Gutierrez Mangansakan II (Director; Limbunan, Qiyamah)

Biyaya ng Lupa
Insiang
Nunal sa Tubig
Oro Plata Mata
Perfumed Nightmare
Kisapmata
Ang Daan Patungong Kalimugtong
Independencia
Huling Balyan ng Buhi
Ebolusyon ng isang Pamilyang Pilipino

*

Dennis Marasigan (Director; Sa North Diversion Road, Vox Populi)

1. Biyaya ng Lupa
2. Himala
3. Maynila sa Kuko ng Liwanag
4. Ganito Kami Noon, Paano Kayo Ngayon
5. Tinimbang Ka Ngunit Kulang
6. Manila by Night
7. Pahiram ng Isang Umaga
8. Oro, Plata, Mata
9. May Minamahal
10. Asedillo

*

Adrian Mendizabal (Film Writer, Auditoire) 

1. Ebolusyon ng Isang Pamilyang Pilipino (Lav Diaz, 2004)
2. Death in the Land of Encantos (Lav Diaz, 2007)
3. Orapronobis (Lino Brocka, 1989)
4. Batang West Side (Diaz, 2001)
5. Ang Ninanais (John Torres, 2010)
6. Now Showing (Raya Martin, 2008)
7. Maynila sa Mga Kuko ng Liwanag (Brocka, 1975)
8. Anak Dalita (Lamberto Avellana, 1956)
9. Tinimbang Ka Ngunit Kulang (Brocka, 1974)
10. Bomba Star (Joey Gosiengfiao, 1980)

*

Pam Miras (Director; Pascalina, Wag Kang Titingin)

Andong, Milo Tolentino
Babae sa Breakwater, Mario O’ Hara
Batang Westside, Lav Diaz
City after Dark, Ishmael Bernal
Itim, Mike De Leon
Kakabakaba Ka Ba? Mike De Leon
Paulo’s Flight, Fruto Corre
Relasyon, Ishmael Bernal
RPG: Metanoia, Luis Suarez
Silip, Elwood Perez
Walai, Adjani Arumpac
Yanggaw, Richard Somes

*

Ramon Nocon (Board Member, Society of Filipino Archivists for Film)

Biyaya ng Lupa (Manuel Silos)
Malvarosa (Gregorio Fernandez)
Portrait of the Artist as Filipino (Lamberto Avellana)
Kisapmata (Mike de Leon)
Maynila sa Kuko ng Liwanag (Lino Brocka)
Aliw (Ishmael Bernal)
Tinimbang Ka Ngunit Kulang (Lino Brocka)
Oro Plata Mata (Peque Gallaga)
Batang West Side (Lav Diaz)
Ang Kabiyak (Danny Zialcita)

*

Bono Olgado (Director, National Fim Archives of the Philippines)

Genghis Khan (1950), Manuel Conde
Biyaya ng Lupa (1959), Manuel Silos
Maynila sa mga Kuko ng Liwanag (1975), Lino Brocka
Mababangong Bangugot (1977), Kidlat Tahimik
Kakabakaba Ka Ba? (1980), Mike de Leon
Himala (1982), Ishmael Bernal
Moral (1982), Marilou Diaz Abaya
Babae sa Bubungang Lata (1998), Mario O’Hara
Batang West Side (2001), Lav Diaz
Todo Todo Teros (2006), John Torres

——————————

Just in case…ten more films:

Noli Me Tangere (1961), Gerry de Leon
Pagdating sa Dulo (1971), Ishmael Bernal
Manila by Night / City After Dark (1980), Ishmael Bernal
Ang Magpakailanman (1983), Raymond Red
Tronong Puti (1983), Rox Lee
Revolutions Happen Like Refrains in a Song (1987), Nick de Ocampo
Orapronobis (1989), Lino Brocka
Minsan Lang Sila Bata (1996), Ditsi Carolino
Tuhog (2001), Jeffrey Jeturian
Sa North Diversion Road (2005), Dennis Marasigan

*

Ricky Orellana (Board Member, Society of Filipino Archivists for Film, Inc.)

1. BIYAYA NG LUPA (1959) Directed by Manuel Silos

I heard Ed Cabagnot praising this film as “the quintessential Filipino movie.” I totally agree with him.

2. GANITO KAMI NOON PAANO KAYO NGAYON (1976) Directed by Eddie Romero

Eddie Romero’s picaresque narrative set in the 1890’s captured the panache that belies the theme’s seriousness (Filipino’s search for national identity).

3. KISAPMATA (1981) Directed by Mike De Leon

Mike De Leon’s scenes of mixed suspense and violence can cause great unease. Vic Silayan’s powerful performance is noteworthy.

4. MORAL (1982) Directed by Marilou Diaz-Abaya

One particular scene in this movie which I can’t forget because it is funny yet strangely affecting is when Kathy (played by Gina Alajar) tries her best to sing in a studio believing that she can deliver but then realizes that she can’t hit the right notes; breaking down to heartfelt sobs in the middle of a recording.

5. ANG MAGPAKAILANMAN (1983) Directed by Raymond Red

A landmark experimental film and one that helped define the local independent cinema movement during the early 80’s.

6. OLIVER (1983) Directed by Nick Deocampo

The crudeness and the raw quality (shot on super-8 film) of this documentary does not distract but rather underpins the truth about the subject’s double life.

7. MAGNIFICO (2003) Directed by Maryo J. De Los Reyes

Michiko Yamamoto’s script is the heart of this moving bittersweet drama. Good ensemble acting too.

8. MUTYA (2009) Directed by Nelson “Blog” Caliguia, Jr.

A mature work from a promising new artist, this is Blog Caliguia’s third animated short film. Aside from non-verbal/no dialogue story telling, he thought of a clever device using illustrative transitions not just for the purpose of piecing together his scenes but also to tell a brief undercurrent adding more story details in his straight forward narrative structure.

9. MARIANING (2012) Directed by Niko Salazar

The eerie atmosphere and the superb animation are the highlights of this 8-minute film, but the centerpiece of this action drama is the climactic battle scene between the “aswangs” and the mysterious avenger.

10. BWAKAW (2012) Directed by Jun Robles Lana

Eddie Garcia is always good in portraying characters both endearing and repelling at the same time, but here he is totally brilliant and poignant.

*

Cenon Palomares (Lecturer, UP Film Institute)

Himala – d: Ishmael Bernal
Karnal – d: Marilou Diaz-Abaya
Ganito Kami Noon, Paano Kayo Ngayon? – d: Eddie Romero
Maynila sa mga Kuko ng Liwanag – d: Lino Brocka
Mababangong Bangungot – d: Kidlat Tahimik
Oro Plata Mata – d: Peque Gallaga
Manila by Night – d: Ishmael Bernal
Itim – d: Mike de Leon
Lola – d: Brillante Mendoza
Oliver – d: Nick de Ocampo

*

Senedy Que (Writer; Mga Munting Tinig, Homecoming)

Maynila sa Kuko ng Liwanag (Lino Brocka)
Moral (Marilou Diaz-Abaya)
Salome (Laurice Guillen)
Jaguar (Lino Brocka)
Karnal (Marilou Diaz-Abaya)
Bayan Ko: Kapit sa Patalim (Lino Brocka)
Burlesk Queen (Celso Ad. Castillo)
Insiang (Lino Brocka)
Sister Stella L. (Mike de Leon)
Kinatay (Brillante Mendoza)

*

Jose Javier Reyes (Director; Makati Ave: Office Girls, Kasal Kasali Kasalo)

1. ANAK DALITA
2. BADJAO
3. GENGHIS KHAN
4. TINIMBANG KA NGUNIT KULANG
5. MAYNILA: SA MGA KUKO NG LIWANAG
6. INSIANG
7. CITY AFTER DARK
8. RELASYON
9. HIMALA
10. ORO PLATA MATA

*

Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)

Himala (Ishmael Bernal)
Bayaning Third World (Mike de Leon)
Manila by Night (Ishmael Bernal)
Sister Stella L. (Mike de Leon)
Tinimbang Ka ngunit Kulang (Lino Brocka)
Insiang (Lino Brocka)
Genghis Khan (Manuel Conde)
Perfumed Nightmare (Kidlat Tahimik)
Kisapmata (Mike de Leon)
Ah, Ewan, Basta sa Maynila Pa Rin Ako (Ishmael Bernal and Eddie Rodriguez)

*

Eduardo Roy, Jr. (Director; Bahay Bata; Ang Pinakamagandang One-Night Stand)

Himala (Ishmael Bernal)
Bona (Lino Brocka)
Maynila sa mga Kuko ng Liwanag (Lino Brocka)
Scorpio Nights (Peque Gallaga)
Insiang (Lino Brocka)
Magnifico (Maryo J. delos Reyes)
Batch 81 (Mike de Leon)
Laman (Maryo J. delos Reyes)
Bulaklak sa City Jail (Mario O’Hara)
Ang Pagdadalaga ni Maximo Oliveros (Auraeus Solito)

*

Shaira Mella Salvador-MacKenzie (Writer; Tanging Yaman, Sana Maulit Muli)

1. Cain at Abel (Lino Brocka)
2. Haplos (Tony Perez)
3. Kisapmata (Mike de Leon)
4. Karnal (Marilou Diaz-Abaya
5. Tanging Yaman (Laurice Guillen)
6. Bona (Lino Brocka)
7. Oro Plata Mata (Peque Gallaga)
8. Tuhog (Jeffrey Jeturian)
9. Tag-ulan sa Tag-araw (Celso Ad. Castillo)
10. Tinik sa Dibdib (Leroy Salvador)

*

Mike Sandejas (Director; Tulad ng Dati, Dinig Sana Kita)

1) Maynila sa Kuko ng Liwanag (Lino Brocka)
2) Itim (Mike de Leon)
3) Batch 81 (Mike de Leon)
4) Kakabakaba Ka Ba? (Mike de Leon)
5) Bayaning 3rd World (Mike de Leon)
6) Kisapmata (Mike de Leon)
7) ‘Merika (Gil Portes)
8) Tinimbang Ka ngunit Kulang (Lino Brocka)
9) Batang West Side (Lav Diaz)
10) Kung Mangarap Ka’t Magising (Mike De Leon)

*

Vincent Sandoval (Director; Aparisyon, Señorita)

1. Insiang (Lino Brocka)
2. Oro Plata Mata (Peque Gallaga)
3. Kisapmata (Mike de Leon)
4. Moral (Marilou Diaz-Abaya)
5. Manila by Night (Ishmael Bernal)
6. Ganito Kami Noon, Paano Kayo Ngayon? (Eddie Romero)
7. Sister Stella L (Mike de Leon)
8. Salawahan (Ishmael Bernal)
9. Babae sa Breakwater (Mario O’Hara)
10. Laman (Maryo J. Delos Reyes)

*

Chris Eriz Sta. Maria (Film Blogger, The One-Legged Woman is Queen) 

Batang West Side (Lav Diaz)
Batch 81 (Mike de Leon)
Death in the Land of Encantos (Lav Diaz)
Himala (Ishmael Bernal)
Imburnal (Sherad Anthony Sanchez)
Insiang (Lino Brocka)
Mababangong Bangungot (Kidlat Tahimik)
Maicling Pelicula nang Ysang Indio Nacional (Raya Martin)
Melancholia (Lav Diaz)
Turumba (Kidlat Tahimik)

*

Arminda Santiago (Professor, UP Film Institute)

Nunal sa Tubig (Ishmael Bernal)
Orapronobis (Lino Brocka)
Anak (Rory Quintos)
Magnifico (Maryo J. delos Reyes)
Thy Womb (Brillante Mendoza)
Working Girls (Ishmael Bernal)
Bagets (Maryo J. delos Reyes)
Sakada (Behn Cervantes)
Tatlong Taong Walang Diyos (Mario O’Hara)
Moral (Marilou Diaz-Abaya)

*

Dondon Santos (Director; Noy, Dalaw)

1. Orapronobis (Lino Brocka)
2. Oro Plata Mata (Peque Gallaga)
3. Dahas (Chito Roño)
4. Kisapmata (Mike de Leon)
5. Bagets (Maryo J. delos Reyes)
6. Batch ’81 (Mike de Leon)
7. Dekada ’70 (Chito Roño)
8. Nasaan Ka Man (Cholo Laurel)
9. Pare Ko (Jose Javier Reyes)
10. Manila by Night (Ishmael Bernal)

*

Joaquin Enrico Santos (Writer; In the Name of Love, The Strangers)

Burlesk Queen (Celso Ad. Castillo)
Karnal (Marilou Diaz-Abaya)
Jay (Francis Xavier Pasion)
Maynila sa Kuko ng Liwanag (Lino Brocka)
Scorpio Nights (Peque Gallaga)
Itim (Mike de Leon)
Manila by Night (Ishmael Bernal)
Kung Mangarap Ka’t Magising (Mike de Leon)
Jose Rizal (Marilou Diaz-Abaya)
Oro Plata Mata (Peque Gallaga)

*

Simon Santos (Owner, Video 48)

My list of top 10 Filipino Movies is primarily based on what I saw and the availability of the copy. Many other worthy movies should have been included like “Hanggang sa Dulo ng Daigdig” (1958/ Gerardo de Leon) and “Daigdig ng mga Api” (1965/ Gerardo de Leon).

1. Biyaya ng Lupa (1959/LVN Pictures) Manuel Silos
2. Anak Dalita (1956/ LVN Pictures) Lamberto Avellana
3. Badjao (1957/ LVN Pictures) Lamberto Avellana
4. The Moises Padilla Story (MML Production/1961) Gerardo de Leon
5. Maynila, Sa Mga Kuko ng Liwanag (Cinema Artists/1975) Lino Brocka
6. Kisapmata (Bancom Audiovision/1981) Mike de Leon
7. Aguila (Bancom Audiovision /1980) Eddie Romero
8. Kung Magarap Ka’t Magising (LVN/1977) Mike de Leon
9. Oro Plata Mata (1985) Peque Gallaga
10. Noli Me Tangere (Bayanihan-Arriva/1961) Gerardo de Leon

11. El Filibusterismo (Bayanihan-Arriva/1962) Gerardo de Leon
12. Insiang (1977) Lino Brocka
13. Tinimbang Ka Nguni’t Kulang (1974) Lino Brocka
14. Higit sa Lahat (LVN/ 1955) Gregorio Fernandez
15. A Portrait of the Artist as Filipino (Diadem Production/ 1965) Lamberto Avellana
16. Ganito Kami Noon, Paano Kayo Ngayon (1976) Eddie Romero
17. Asedillo (FPJ Productions/1971) Celso Ad Castillo

*

Keith Sicat (Director; Ka Oryang, Himala Ngayon)

1.            Himala (Dir. Ishmael Bernal)
2.            Maynila sa Kuko ng Liwanag (Dir. Lino Brocka)
3.            Itim (Dir. Mike DeLeon)
4.            Karnal (Dir. Marilou Diaz-Abaya)
5.            Riles (Dir. Ditsi Carolino)
6.            Oliver (Dir. Nick DeOcampo)
7.            Ang Magpakailanman (Dir. Raymond Red)
8.            Puting Paalam (Dir. Sari Dalena)
9.            Death in the Land of Encantos (Dir. Lav Diaz)
10.          Independencia (Dir. Raya Martin)

*

Carlitos Siguion-Reyna (Director; Ikaw Pa Lang ang Minahal, Ligaya ang Itawag Mo sa Akin)

I’d call this my list of most memorable Filipino films.

1. Maynila… sa mga Kuko ng Liwanag (Brocka)
2-10. Biyaya ng Lupa (Silos)
2-10. Oro, Plata, Mata (Gallaga)
2-10. Ganito Kami Noon, Paano Kayo Ngayon? (Romero)
2-10. Relasyon (Bernal)
2-10. Sibak (Chionglo)
2-10. Tirador (Mendoza)
2-10. Bulaklak ng Maynila (Lamangan)
2-10. Ebolusyon ng Isang Pamilyang Pilipino (Diaz)
2-10. Luksong Tinik (J. Reyes)

*

Rianne Hill Soriano (Film Reviewer, Business World)

Genghis Khan (1950)
Insiang (1976)
Ganito Kami Noon… Paano Kayo Ngayon? (1976)
Mababangong Bangungot (1977)
Kakabakaba Ka Ba? (1980)
Kisapmata (1981)
Himala (1982)
Moral (1982)
Scorpio Nights (1985)
Kubrador (2006)

*

Nicanor Tiongson (Professor Emeritus, UP Film Institute)

Noli Me Tangere (Gerardo de Leon)
El Filibusterismo (Gerardo de Leon)
Badjao (Lamberto Avellana)
Anak Dalita (Lamberto Avellana)
Ganito Kami Noon, Paano Kayo Ngayon? (Eddie Romero)
Maynila, sa Kuko ng Liwanag (Lino Brocka)
Orapronobis (Lino Brocka)
Bayaning 3rd World (Mike De Leon)
Himala (Ishmael Bernal)
Oro Plata Mata (Peque Gallaga)

*

Rolando Tolentino (Member, Manunuri ng Pelikulang Pilipino)

maynila sa kuko ng liwanag
manila by night
ebolusyon ng pamilyang pilipino
kinatay
bagets
sister stella l
batch 81
oro plata mata
tatay kong nanay
ganito kami noon paano kayo ngayon

*

Jake Tordesillas (Writer; High School Circa ’65, Bagets)

Brocka’s Tinimbang Ka Ngunit Kulang…brought awareness during 70s that Pinoy films can compare with American movies.

Bernal’s Manila by Night – his masterpiece. Showed Manila at its darkest

Brocka’s Maynila sa Kuko Ng Liwanag – Bembol’s eyes and Hilda’s helplessness will forever be in my memories

Romero’s Ganito Kami Noon, Paano Kayo Ngayon – Boyet as Kulas is a fun way to do Phil. history

Maryo de los Reyes’ Magnifico – there is goodness in everyone

Biyaya ng Lupa – Manuel Silos’ powerful portrait of rural life

Gallaga’s Oro Plata Mata – shows Gallaga can combine his mastery of direction and production design

Bernal’s Himala – unforgetable. Need i say more?

Avellana’s Badjao – I found this timeless when we watched it recently more than his other masterpiece “Anak Dalita” that I found dated (I may be wrong on this, just a personal opinion)

tie: Manuel Conde’s Genghis Khan – the first Filipino film to make an impact abroad and Gerry de Leon’s Sisa – should be shown every year to show how a filmmaker made good use of passion in creating a historical drama

Note: I hate doing lists like this because i miss out on my other favorite films like Celso Ad. Castillo’s Nympha, Marilou Diaz’ Rizal & Moral, Laurice Guillen”s Kasal (my personal favorite) & Tanging Yaman, Mike de Leon”s Kakaba Kaba Ka ba & Kung Mangarap Ka’t Magising, Jeturian’s Pila Balde & Minsan Pa, Malvarosa (another personal favorite), Bernal’s Relasyon, O’Hara’s Tatlong Taon Walang Diyos & Bagong Hari, Lamasan’s Madastra and especially Mendoza’s Foster Child and Kinatay (which on second thought, should be in the greatest list since he is the only director to win in Cannes)

*

Nestor U. Torre (Film Writer, Philippine Daily Inquirer)

Maynila sa mga Kuko ng Liwanag
Biyaya ng Lupa
Juan Tamad Goes to Congress
Geron Busabos, ang Batang Quiapo
Kundiman ng Lahi
Ganito Kami, Noon, Paano Kayo Ngayon?
Batch ’81
Sister Stella L
The Moises Padilla Story
Jose Rizal

Published here on August 28, 2003.

*

Mauro Feria Tumbocon (Founder, Filipino Arts and Cinema)

Biyaya ng Lupa (Manuel Silos)
Burlesk Queen (Celso Ad. Castillo)
Ebolusyon ng Isang Pamilyang Pilipino (Lav Diaz)
El Filibusterismo (Gerardo de Leon)
Florentina Hubaldo, CTE (Lav Diaz)
Himala (Ishmael Bernal)
Kinatay (Brillante Mendoza)
Kisapmata (Mike de Leon)
Maynila sa mga Kuko ng Liwanag (Lino Brocka)
Nunal sa Tubig (Ishmael Bernal)
Oliver (Nick Deocampo)

*

Noel Vera (Film Writer, Critic after Dark) 

14. Init sa Magdamag (Midnight Passion)

Laurice Guillen’s erotic masterpiece (with a sharp script from Raquel Villavicencio, and a brave lead performance by Lorna Tolentino) makes an assertion so outrageous it offends even feminists–that women have the right to be not just sexual beings, but sexually self-destructive beings–and does so with a breathtaking sensuality that involves not a stitch of nudity.

13. Bagong Bayani (Unsung Heroine)

Narrative filmmaker Tikoy Aguiluz tells the true story of Flor Contemplacion, the hapless housemaid accused of murder in Singapore, same time documentary filmmaker Tikoy Aguiluz tells a larger story, of the Great Diaspora that has scattered Filipinos to the far corners of the Earth, and of their collective shock and dismay at the apparent injustice of her execution. With Helen Gamboa giving a great performance as Flor, and Irma Adlawan as a luminous Virginia Parumog.

12. Batang West Side (West Side Avenue)

As the filmmaker himself put it the first true Lav Diaz film, and to my mind finest: witty dialogue and moody cinematography and a grave manner of musing over life’s imponderables that recalls Terence Malick (only Malick never invested as much time–near five hours–over said imponderables). Along with Bagong Bayani the definitive portrait of the Filipino Diaspora, with a hauntingly ambiguous conclusion.

11. Pangarap ng Puso (Demons)

Mario O’Hara’s film–by turns horror movie, love story, expose of military atrocities, and celebration of Filipino poetry–encapsulates in its wide-ranging, free-wheeling, all-too-brief (a mere 100 minutes) running time the terrors and triumphs of living in the Philippines during the ’80s and 90′s.

10. Agila

Eddie Romero is best known for his beautifully written picaresque epic Ganito Kami Noon, Paano Kayo Ngayon? (We Were Like This Then; How Are You Doing Now?); I prefer this, where history (from turn-of-the-century Philippines through the Second World War to near-recent times) is seen through the eyes of our thoughtful eponymous adventurer (the inimitable Fernando Poe, Jr.), and through the lenses of cinematographer Mike De Leon’s (a major filmmaker in his own right) quietly brilliant camera.

9. Anak Dalita (The Ruins)

Lamberto Avellana combines the terrible images of Manila’s ruins (the film was shot a decade after war’s end, but due to lack of funds reconstruction was hardly complete) with a penchant for directing lively colloquial dialogue, and fine unforced performances from Rosa Rosal and Tony Santos; the result is a noirish melodrama set in an unrelentingly bleak postwar reality.

8. Biyaya ng Lupa (Blessings of the Land)

Rosa Rosal and Tony Santos again struggling for survival, this time in the gorgeous Philippine countryside and under the direction of Manuel Silos; the film’s storytelling has the understated intensity of Renoir, the epic lyricism of Dozhenko–with Silos’ baskets, brimming to overflowing with fat lanzones, standing in for Dozhenko’s gigantic pears.

7. Himala (Miracle)

Ishmael Bernal’s most visually striking, most hallucinatory film, the wasted landscape (actually the sandy dunes of Laoag) foreshadowing the devastation wreaked by the 1991 Pinatubo eruption. In this eerily prescient setting Bernal explores the hypocrisies and worse absurdities of religious institutions and religious faith, particularly the cult that has sprouted around the iconic figure of Nora Aunor’s miraculous faith healer.

6. Insiang

Lino Brocka’s slum masterpiece–based on Mario O’Hara’s teleplay, with unforgettably squalid cinematography from the great Conrado Baltazar–is a tight-knitted three-way melodrama (mother, daughter, mother’s lover) whose intensity recalls Shakespeare’s Othello. Jealousy, hatred and revenge in a reckless carousel whirl, with an ambiguity rare in Brocka’s films–who is the victim, who the victimizer?

5. Burlesk Queen

Celso Ad Castillo’s film about an innocent lass turned burlesque dancer is really less about narrative coherence (why is Joonnee Gamboa’s impresario–a great performance, by the way– in this picture, and what, exactly, is he saying?) and more about visual texture and lyrical imagery. A masterpiece from what fellow filmmaker Mario O’Hara once called “the finest eye in Philippine Cinema.”

4. Kisapmata (Blink of an Eye)

Mike de Leon’s film adaptation of the Nick Joaquin true-life crime story “The House on Zapote Street” takes its cue from Stanley Kubrick’s The Shining, and in my opinion outstrips its inspiration in terms of claustrophobic horror. Easily his most intense, most real, most personal work, and arguably the most perfect Filipino film ever made.

3. The Moises Padilla Story

In mostly Roman Catholic Philippines, this is Gerardo de Leon’s Passion Play, a political tract that transcends its propaganda intentions to become a great character study–of the man who becomes the film’s Christ figure (Leopoldo Salcedo at his most heroic), and his compellingly tormented Judas (former president Joseph Estrada, in the performance of his career).

2. El Filibusterismo (The Subversive)

Jose Rizal’s great social novel turned into Gerardo de Leon’s great Gothic film–Crisostomo Ibarra’s quest for revenge, given unforgettable cinematic life by Pancho Magalona’s menacing performance as Ibarra (here called Simoun), shot through de Leon’s monumentally angled lenses.

1. Tatlong Taong Walang Diyos (Three Years Without God)

Mario O’Hara’s masterwork, a film with enough empathy to understand even the wartime Japanese at their worse, the wartime Filipinos at their best. Visually and emotionally, the greatest Filipino film ever made.

*

Rodolfo Vera (Writer; Niño, REquieme!)

1. Maynila sa mga Kuko ng Liwanag by Lino Brocka
2. Hinugot sa Langit by Ishmael Bernal
3. Tatlong Taong Walang Diyos by Mario O’Hara
4. Insiang by Lino Brocka
5. Ganito Kami Noon, Paano Kayo Ngayon? by Eddie Romero
6. Milagros by Marilou Diaz-Abaya
7. Oro, Plata, Mata by Peque Gallaga
8. Tinimbang Ka Ngunit Kulang by Lino Brocka
9. Manila by Night by Ishmael Bernal
10. Batch 81 by Mike de Leon

*

G.A. Villafuerte (Director, Lihim ng mga Nympha, Hardinero)

1. Babangon Ako’t Dudurugin Kita (Lino Brocka, 1989)
2. No Other Woman (Ruel Bayani, 2011)
3. Darna (Joel Lamangan, 1991)
4. Ika-11 Utos: Mahalin Mo Asawa Mo (Marilou Diaz-Abaya, 1994)
5. Himala (Ishmael Bernal, 1982)
6. May Minamahal (Jose Javier Reyes, 1993)
7. Maalaala Mo Kaya (Olivia Lamasan, 1994)
8. Tinimbang Ka Ngunit Kulang (Lino Brocka, 1974)
9. Karnal (Marilou Diaz-Abaya, 1984)
10. Itim (Mike de Leon, 1976)

*

Jessica Zafra (Film Reviewer, InterAksyon)

Salawahan (Ishmael Bernal)
Kakabakaba Ka Ba? (Mike De Leon)
Burlesk Queen (Celso Ad. Castillo)
Haplos (Butch Perez)
Misteryo sa Tuwa (Abbo dela Cruz)
Oro, Plata, Mata (Peque Gallaga)
Manila by Night (Ishmael Bernal)
Barilan sa Baboy Kural (Carlos Vander Tolosa)
Virgin Forest (Peque Gallaga)
Insiang (Lino Brocka)

(First published in jessicarulestheuniverse.com, September 2, 2012)

*

Jerome Zamora (Writer; Bahay Bata, Haruo)

Bayan Ko: Kapit sa Patalim
Kisapmata
Burlesk Queen
Maynila sa Kuko ng Liwanag
Bulaklak sa City Jail
Sister Stella L.
Insiang
Himala
Foster Child
Tuhog

*

Award-winning young director who wishes to remain anonymous

1. Nunal sa Tubig by Ishmael Bernal
2. Ebolusyon ng Isang Pamilyang Pilipino by Lav Diaz
3. Death in the Land Of Encantos by Lav Diaz
4. Himala by Ishmael Bernal
5. Tuhog by Jeffrey Jeturian
6.  Kubrador by Jeffrey Jeturian
7. Years When I Was My Father’s Child Outside by John Torres
8. Coming Soon by Raya Martin
9.  Indio Nacional by Raya Martin
10. Anak Dalita by Lamberto Avellana

*

Award-winning scriptwriter/producer who wishes to remain anonymous

Broken Marriage
Tinimbang Ka Nguni’t Kulang
Batang West Side
Manila by Night
Burlesk Queen
Palabra de Honor
Biyaya ng Lupa
Dahil Mahal Kita: The Dolzura Cortez Story
Ang Paglilitis ni Andres Bonifacio
Scorpio Nights

*

De Leon’s debut film marked him as an intelligent filmmaker with an excellent grasp of cinematic language. Itim exposes both the appealing and creepy dimensions of organized religion.

Voted by:

• Sari Dalena (Director; Ka Oryang, Himala Ngayon)
• Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)
• Katski Flores (Director; Still Life, Dreamboy)
• Patrick Flores (Founding Member, Young Critics Circle Film Desk)
• Benjamin Garcia (Director; Batad: Sa Paang Palay, Malan)
• Jag Garcia (Film Professor, De la Salle-College of Saint Benilde)
• Nonoy Lauzon (Programmer, UP Film Institute)
• Jet Leyco (Director; Ex Press, Patlang)
• Pam Miras (Director; Pascalina, Wag Kang Titingin)
• Cenon Palomares (Lecturer, UP Film Institute)
• Mike Sandejas (Director; Tulad ng Dati, Dinig Sana Kita)
• Joaquin Enrico Santos (Writer; In the Name of Love, The Strangers)
• Keith Sicat (Director; Ka Oryang, Himala Ngayon)
• G.A. Villafuerte (Director, Lihim ng mga Nympha, Hardinero)

9 – BATCH ’81 (Mike de Leon, 1982)

Made during the turbulent last few years of the Marcos regime, Batch 81’s exploration of a college fraternity acted as a stand-in for the larger socio-political climate at the time.

Voted by:

• Dwein Tarhata Baltazar (Director, Mamay Umeng)
• Theodore Boborol (Writer; My Big Love, Kelly! Kelly! Ang Hit na Musical)
• Archie del Mundo (Director; Taksikab, Ang Misis ni Meyor)
• Jojo Devera (Film Writer, Sari-Saring Sineng Pinoy): “Ostensibly the story of seven young men who join a college fraternity, Batch ’81 is an orgy of physical and psychological violence. What makes the film classic is its use of the technical virtuosity displayed by Mike de Leon to convey political, social and philosophical meaning.”
• Zig Dulay (Writer; Posas, Ad Ignorantiam)
• Jag Garcia (Film Professor, De la Salle-College of Saint Benilde)
• Chuck Gutierrez (Producer, MNL 143; Director, Ulian)
• Jason Jacobo (Member, Young Critics Circle Film Desk)
• Skilty Labastilla (Member, Young Critics Circle Film Desk)
• Ian Loreños (Director; Alagwa, The Leaving)
• Eduardo Roy, Jr. (Director; Bahay Bata; Ang Pinakamagandang One-Night Stand)
• Mike Sandejas (Director; Tulad ng Dati, Dinig Sana Kita)
• Chris Eriz Sta. Maria (Film Blogger, The One-Legged Woman is Queen)
• Dondon Santos (Director; Noy, Dalaw)
• Rolando Tolentino (Member, Manunuri ng Pelikulang Pilipino)
• Nestor U. Torre (Film Writer, Philippine Daily Inquirer)
• Rodolfo Vera (Writer; Niño, Boses)

8 – GANITO KAMI NOON… PAANO KAYO NGAYON? (Eddie Romero, 1976)

Some people have observed that Romero’s majestic picaresque tale was a precursor to Forrest Gump: its protagonist is a simple-minded young man who sets out on a journey from his quiet hometown, gets enmeshed in the country’s historical upheavals, falls in love, gets his heart broken, learns to forgive, and ends up a wiser man. Ganito Kami Noon is the more accomplished work.

Voted by:

• Misha Anissimov (Film Professor, University of San Carlos)
• Patrick Campos (Professor, UP Film Institute)
• Jan Philippe Carpio (Director; Balay Daku, Girl of My Dreams): “A film that showed me how much of personal experience and perspective is left out of history and experiences, and how much of history has become myth making instead of a genuine investigation into the possibilities of experiences.”
• Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)
• Benjamin Garcia (Director; Batad: Sa Paang Palay, Malan)
• Eli Guieb (Professor, UP Film Institute)
• Joni Gutierrez (Professor, UP Film Institute)
• Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
• Jeffrey Jeturian (Director; Kubrador, Pila Balde)
• Ralston Jover (Director; Bakal Boys, Marlon)
• Skilty Labastilla (Member, Young Critics Circle Film Desk)
• Bienvenido Lumbera (National Artist for Literature)
• Dado Lumibao (Director; In da Red Corner, Must Be Love)
• Dennis Marasigan (Director; Sa North Diversion Road, Vox Populi)
• Ricky Orellana (Board Member, Society of Filipino Archivists for Film, Inc.): “Eddie Romero’s picaresque narrative set in the 1890’s captured the panache that belies the theme’s seriousness (Filipino’s search for national identity).”
• Cenon Palomares (Lecturer, UP Film Institute)
• Vincent Sandoval (Director; Aparisyon, Señorita)
• Carlitos Siguion-Reyna (Director; Ikaw Pa Lang ang Minahal, Ligaya ang Itawag Mo sa Akin)
• Rianne Hill Soriano (Film Reviewer, Business World)
• Nicanor Tiongson (Professor Emeritus, UP Film Institute)
• Rolando Tolentino (Member, Manunuri ng Pelikulang Pilipino)
• Jake Tordesillas (Writer; High School Circa ’65, Bagets): “Boyet as Kulas is a fun way to do Philippine history.”
• Nestor U. Torre (Film Writer, Philippine Daily Inquirer)
• Rodolfo Vera (Writer; Niño, Boses)

7 – INSIANG (Lino Brocka, 1976)

Brocka’s searing treatment of a mother-daughter relationship in the slums is a perfect melding of melodrama and Greek tragedy. Features one of the best ensemble performances in local cinema.

Voted by:

• Adolfo Alix, Jr. (Director; Haruo, Kalayaan)
• Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)
• Wenn Deramas (Director; Ang Tanging Ina, Praybeyt Benjamin): “Tatatlo lamang ang tauhan, isang masikip at mabahong lugar, pero nabuo ang kwento ng pagmamahal, betrayal at paghihiganti, napakaganda ng characterization ni Insiang at ng nanay niya.”
• Gary Devilles (Professor, Kagawaran ng Filipino, Ateneo de Manila University)
• Benjamin Garcia (Director; Batad: Sa Paang Palay, Malan)
• Jag Garcia (Film Professor, De la Salle-College of Saint Benilde)
• Chuck Gutierrez (Producer, MNL 143; Director, Ulian)
• Joni Gutierrez (Professor, UP Film Institute)
• Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
• Jeffrey Jeturian (Director; Kubrador, Pila Balde)
• Skilty Labastilla (Member, Young Critics Circle Film Desk)
• Ian Loreños (Director; Alagwa, The Leaving)
• Gutierrez Mangansakan II (Director; Limbunan, Qiyamah)
• Senedy Que (Writer; Mga Munting Tinig, Homecoming)
• Jose Javier Reyes (Director; Makati Ave: Office Girls, Kasal Kasali Kasalo)
• Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)
• Eduardo Roy, Jr. (Director; Bahay Bata; Ang Pinakamagandang One-Night Stand)
• Vincent Sandoval (Director; Aparisyon, Señorita)
• Chris Eriz Sta. Maria (Film Blogger, The One-Legged Woman is Queen)
• Rianne Hill Soriano (Film Reviewer, Business World)
• Noel Vera (Film Writer, Critic after Dark): “Lino Brocka’s slum masterpiece–based on Mario O’Hara’s teleplay, with unforgettably squalid cinematography from the great Conrado Baltazar–is a tight-knitted three-way melodrama (mother, daughter, mother’s lover) whose intensity recalls Shakespeare’s Othello. Jealousy, hatred and revenge in a reckless carousel whirl, with an ambiguity rare in Brocka’s films–who is the victim, who the victimizer?”
• Rodolfo Vera (Writer; Niño, Boses)
• Jessica Zafra (Film Reviewer, InterAksyon)
• Jerome Zamora (Writer; Bahay Bata, Haruo)

6 – ORO PLATA MATA (Peque Gallaga, 1982)

Gallaga’s grandiose epic on the Second World War’s impact on the country’s landed elite is a powerful commentary on ordinary humans’ capacity for evil.

Voted by:

• Joey Agbayani (Director; Lola, Kidlat)
• Misha Anissimov (Film Professor, University of San Carlos)
• Dwein Tarhata Baltazar (Director, Mamay Umeng)
• John Bedia (Writer; Amok, Boundary): “Epic.”
• Patrick Campos (Professor, UP Film Institute)
• Sari Dalena (Director; Ka Oryang, Himala Ngayon)
• Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)
• Katski Flores (Director; Still Life, Dreamboy)
• Jag Garcia (Film Professor, De la Salle-College of Saint Benilde)
• Joni Gutierrez (Professor, UP Film Institute)
• Antoinette Jadaone (Director; Six Degree of Separation from Lilia Cuntapay, Tumbang Preso)
• Gerard Lico (Member, Young Critics Circle Film Desk)
• Bienvenido Lumbera (National Artist for Literature)
• Dado Lumibao (Director; In da Red Corner, Must Be Love)
• Gutierrez Mangansakan II (Director; Limbunan, Qiyamah)
• Dennis Marasigan (Director; Sa North Diversion Road, Vox Populi)
• Cenon Palomares (Lecturer, UP Film Institute)
• Jose Javier Reyes (Director; Makati Ave: Office Girls, Kasal Kasali Kasalo)
• Shaira Mella Salvador-MacKenzie (Writer; Tanging Yaman, Sana Maulit Muli)
• Vincent Sandoval (Director; Aparisyon, Señorita)
• Dondon Santos (Director; Noy, Dalaw)
• Joaquin Enrico Santos (Writer; In the Name of Love, The Strangers)
• Simon Santos (Owner, Video 48)
• Carlitos Siguion-Reyna (Director; Ikaw Pa Lang ang Minahal, Ligaya ang Itawag Mo sa Akin)
• Nicanor Tiongson (Professor Emeritus, UP Film Institute)
• Rolando Tolentino (Member, Manunuri ng Pelikulang Pilipino)
• Jake Tordesillas (Writer; High School Circa ’65, Bagets): “shows Gallaga can combine his mastery of direction and production design.”
• Rodolfo Vera (Writer; Niño, Boses)
• Jessica Zafra (Film Reviewer, InterAksyon)

5 – BIYAYA NG LUPA (Manuel Silos, 1959)

It’s a testament to the enduring appeal of this 1959 family melodrama that it’s still being appreciated by younger viewers. Rosa Rosal is unforgettable as the matriarch who acts as the bedrock amidst the never-ending tragedies that befall her family.

Voted by:

• Adolfo Alix, Jr. (Director; Haruo, Kalayaan)
• Joey Baquiran (Member, Young Critics Circle Film Desk)
• John Bedia (Writer; Amok, Boundary): “The Best FILIPINO FAMILY DRAMA ever. Universal and timeless.”
• Patrick Campos (Professor, UP Film Institute)
• Jan Philippe Carpio (Director; Balay Daku, Girl of My Dreams): “A film that showed me how the limiting form of film genre can be used to open us up into forms of living that challenge our commonly held biases and judgments by teaching us selflessness, compassion and forgiveness.”
• Archie del Mundo (Director; Taksikab, Ang Misis ni Meyor)
• Christopher Gozum (Director; Anacbanua, Lawas Kan Pinabli)
• Jerry Gracio (Writer; Mater Dolorosa, Aparisyon)
• Joni Gutierrez (Professor, UP Film Institute)
• Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
• Jason Jacobo (Member, Young Critics Circle Film Desk)
• Nonoy Lauzon (Programmer, UP Film Institute)
• Ed Lejano (Director, UP Film Institute)
• Gerard Lico (Member, Young Critics Circle Film Desk)
• Bienvenido Lumbera (National Artist for Literature)
• Gutierrez Mangansakan II (Director; Limbunan, Qiyamah)
• Dennis Marasigan (Director; Sa North Diversion Road, Vox Populi)
• Ramon Nocon (Board Member, Society of Filipino Archivists for Film)
• Bono Olgado (Director, National Fim Archives of the Philippines)
• Ricky Orellana (Board Member, Society of Filipino Archivists for Film, Inc.): “I heard Ed Cabagnot praising this film as ‘the quintessential Filipino movie’. I totally agree with him.”
• Simon Santos (Owner, Video 48)
• Carlitos Siguion-Reyna (Director; Ikaw Pa Lang ang Minahal, Ligaya ang Itawag Mo sa Akin)
• Jake Tordesillas (Writer; High School Circa ’65, Bagets): “Manuel Silos’ powerful portrait of rural life.”
• Nestor U. Torre (Film Writer, Philippine Daily Inquirer)
• Mauro Feria Tumbocon (Founder, Filipino Arts and Cinema)
• Noel Vera (Film Writer, Critic after Dark): “Rosa Rosal and Tony Santos again struggling for survival, this time in the gorgeous Philippine countryside and under the direction of Manuel Silos; the film’s storytelling has the understated intensity of Renoir, the epic lyricism of Dozhenko–with Silos’ baskets, brimming to overflowing with fat lanzones, standing in for Dozhenko’s gigantic pears. “
• Award-winning scriptwriter/producer who wishes to remain anonymous

4 – MANILA BY NIGHT (Ishmael Bernal, 1980)

Famously banned by the Marcos government for portraying Manila in a “bad” light, Manila by Night is a profoundly impressive canvas featuring some of the city’s most colorful denizens.

Voted by:

• Adolfo Alix, Jr. (Director; Haruo, Kalayaan)
• Joey Baquiran (Member, Young Critics Circle Film Desk)
• John Bedia (Writer; Amok, Boundary): “Bernal effortlessly juggles between different characters, story and place with ease and the skill of a magician and master.”
• Theodore Boborol (Writer; My Big Love, Kelly! Kelly! Ang Hit na Musical)
• Libay Cantor (Professor, UP Film Institute): “Gotta love Ishma. The first truly all spectrum queer-inclusive Pinoy film for me. You got the L, G, B and even the T and Q in there. Plus the fact that it was subversive for its time yet it remained artistically intact is something to take note of.”
• Jade Castro (Director; Endo, Zombadings)
• Ina Avellana Cosio (Senior Lecturer, UP Film Institute)
• Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)
• Archie del Mundo (Director; Taksikab, Ang Misis ni Meyor)
• Christopher Gozum (Director; Anacbanua, Lawas Kan Pinabli)
• Eli Guieb (Professor, UP Film Institute)
• Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
• Antoinette Jadaone (Director; Six Degree of Separation from Lilia Cuntapay, Tumbang Preso)
• Ralston Jover (Director; Bakal Boys, Marlon)
• Nonoy Lauzon (Programmer, UP Film Institute)
• Eileen Legaspi-Ramirez (Art Studies Professor, UP Diliman)
• Ed Lejano (Director, UP Film Institute)
• Gerard Lico (Member, Young Critics Circle Film Desk)
• Ian Loreños (Director; Alagwa, The Leaving)
• Bienvenido Lumbera (National Artist for Literature)
• Dado Lumibao (Director; In da Red Corner, Must Be Love)
• Dennis Marasigan (Director; Sa North Diversion Road, Vox Populi)
• Pam Miras (Director; Pascalina, Wag Kang Titingin)
• Cenon Palomares (Lecturer, UP Film Institute)
• Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)
• Vincent Sandoval (Director; Aparisyon, Señorita)
• Dondon Santos (Director; Noy, Dalaw)
• Rolando Tolentino (Member, Manunuri ng Pelikulang Pilipino)
• Jake Tordesillas (Writer; High School Circa ’65, Bagets): “Bernal’s masterpiece. Showed Manila at its darkest.”
• Rodolfo Vera (Writer; Niño, Boses)
• Jessica Zafra (Film Reviewer, InterAksyon)
• Award-winning scriptwriter/producer who wishes to remain anonymous

3 – KISAPMATA (Mike de Leon, 1981)

Arguably de Leon’s best work is a deeply troubling depiction of a dysfunctional family, featuring an imposing performance by Vic Silayan as evil personified.

Voted by:

• Joey Agbayani (Director; Lola, Kidlat)
• Adolfo Alix, Jr. (Director; Haruo, Kalayaan)
• Misha Anissimov (Film Professor, University of San Carlos)
• Dwein Tarhata Baltazar (Director, Mamay Umeng)
• Joey Baquiran (Member, Young Critics Circle Film Desk)
• John Bedia (Writer; Amok, Boundary): “Masterful craftsmanship. Across the board triumph.”
• Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)
• Katski Flores (Director; Still Life, Dreamboy)
• Jerry Gracio (Writer; Mater Dolorosa, Aparisyon)
• Chuck Gutierrez (Producer, MNL 143; Director, Ulian)
• Joni Gutierrez (Professor, UP Film Institute)
• Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
• Jeffrey Jeturian (Director; Kubrador, Pila Balde)
• Coreen Jimenez (Director, Kano: An American and His Harem): “This movie still gives me goosebumps.”
• Ralston Jover (Director; Bakal Boys, Marlon)
• Skilty Labastilla (Member, Young Critics Circle Film Desk)
• Jon Lazam (Director; Nang gabing maging singlaki ng puso ang bato ni Darna, Hindi sa Atin ang Buwan)
• Ed Lejano (Director, UP Film Institute)
• Jet Leyco (Director; Ex Press, Patlang)
• Ian Loreños (Director; Alagwa, The Leaving)
• Bienvenido Lumbera (National Artist for Literature)
• Dado Lumibao (Director; In da Red Corner, Must Be Love)
• Gutierrez Mangansakan II (Director; Limbunan, Qiyamah)
• Ramon Nocon (Board Member, Society of Filipino Archivists for Film)
• Ricky Orellana (Board Member, Society of Filipino Archivists for Film, Inc.): “Mike De Leon’s scenes of mixed suspense and violence can cause great unease. Vic Silayan’s powerful performance is noteworthy.”
• Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)
• Shaira Mella Salvador-MacKenzie (Writer; Tanging Yaman, Sana Maulit Muli)
• Mike Sandejas (Director; Tulad ng Dati, Dinig Sana Kita)
• Vincent Sandoval (Director; Aparisyon, Señorita)
• Dondon Santos (Director; Noy, Dalaw)
• Simon Santos (Owner, Video 48)
• Rianne Hill Soriano (Film Reviewer, Business World)
• Mauro Feria Tumbocon (Founder, Filipino Arts and Cinema)
• Noel Vera (Film Writer, Critic after Dark): “Mike de Leon’s film adaptation of the Nick Joaquin true-life crime story “The House on Zapote Street” takes its cue from Stanley Kubrick’s The Shining, and in my opinion outstrips its inspiration in terms of claustrophobic horror. Easily his most intense, most real, most personal work, and arguably the most perfect Filipino film ever made.”
• Jerome Zamora (Writer; Bahay Bata, Haruo)

2 – HIMALA (Ishmael Bernal, 1982) 

Yearly Holy Week TV reruns have made Bernal’s magnum opus thankfully accessible to most Filipinos. Himala’s depiction of a poor people yearning for a miracle is an immense filmmaking triumph.

Voted by:

• Joey Agbayani (Director; Lola, Kidlat)
• Misha Anissimov (Film Professor, University of San Carlos)
• Dwein Tarhata Baltazar (Director, Mamay Umeng)
• Joey Baquiran (Member, Young Critics Circle Film Desk)
• Theodore Boborol (Writer; My Big Love, Kelly! Kelly! Ang Hit na Musical)
• Lex Bonife (Writer; Ang Lalake sa Parola, Ang Lihim ni Antonio): “A Filipino classic.”
• Patrick Campos (Professor, UP Film Institute)
• Ina Avellana Cosio (Senior Lecturer, UP Film Institute)
• Sari Dalena (Director; Ka Oryang, Himala Ngayon)
• Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)
• Archie del Mundo (Director; Taksikab, Ang Misis ni Meyor)
• Wenn Deramas (Director; Ang Tanging Ina, Praybeyt Benjamin): “Malaking Pelikula na nagpapakita ng paniniwala/pananampalataya nating mga Pilipino, hinaluan pa ng init at gutom, ito ang pwedeng mangyari.”
• Gary Devilles (Professor, Kagawaran ng Filipino, Ateneo de Manila University)
• Zig Dulay (Writer; Posas, Ad Ignorantiam)
• Katski Flores (Director; Still Life, Dreamboy)
• Benjamin Garcia (Director; Batad: Sa Paang Palay, Malan)
• Jag Garcia (Film Professor, De la Salle-College of Saint Benilde)
• Jerry Gracio (Writer; Mater Dolorosa, Aparisyon)
• Eli Guieb (Professor, UP Film Institute)
• Chuck Gutierrez (Producer, MNL 143; Director, Ulian)
• Joni Gutierrez (Professor, UP Film Institute)
• Antoinette Jadaone (Director; Six Degree of Separation from Lilia Cuntapay, Tumbang Preso)
• Ralston Jover (Director; Bakal Boys, Marlon)
• Skilty Labastilla (Member, Young Critics Circle Film Desk)
• Eileen Legaspi-Ramirez (Art Studies Professor, UP Diliman)
• Jet Leyco (Director; Ex Press, Patlang)
• Gerard Lico (Member, Young Critics Circle Film Desk)
• Ian Loreños (Director; Alagwa, The Leaving)
• Bienvenido Lumbera (National Artist for Literature)
• Dado Lumibao (Director; In da Red Corner, Must Be Love)
• Dennis Marasigan (Director; Sa North Diversion Road, Vox Populi)
• Bono Olgado (Director, National Fim Archives of the Philippines)
• Cenon Palomares (Lecturer, UP Film Institute)
• Jose Javier Reyes (Director; Makati Ave: Office Girls, Kasal Kasali Kasalo)
• Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)
• Eduardo Roy, Jr. (Director; Bahay Bata; Ang Pinakamagandang One-Night Stand)
• Chris Eriz Sta. Maria (Film Blogger, The One-Legged Woman is Queen)
• Keith Sicat (Director; Ka Oryang, Himala Ngayon)
• Rianne Hill Soriano (Film Reviewer, Business World)
• Nicanor Tiongson (Professor Emeritus, UP Film Institute)
• Jake Tordesillas (Writer; High School Circa ’65, Bagets): “Unforgettable. Need I say more?”
• Mauro Feria Tumbocon (Founder, Filipino Arts and Cinema)
• Noel Vera (Film Writer, Critic after Dark): “Ishmael Bernal’s most visually striking, most hallucinatory film, the wasted landscape (actually the sandy dunes of Laoag) foreshadowing the devastation wreaked by the 1991 Pinatubo eruption. In this eerily prescient setting Bernal explores the hypocrisies and worse absurdities of religious institutions and religious faith, particularly the cult that has sprouted around the iconic figure of Nora Aunor’s miraculous faith healer.”
• G.A. Villafuerte (Director, Lihim ng mga Nympha, Hardinero)
• Jerome Zamora (Writer; Bahay Bata, Haruo)
• Award-winning young director who wishes to remain anonymous

1 – MAYNILA SA MGA KUKO NG LIWANAG (Lino Brocka, 1975) 

The movie that shatters any poor soul’s dream of making it big in the country’s capital city, Maynila sa mga Kuko ng Liwanag succeeds in being both a love story (Julio Madiaga’s search for the love of his life is one of cinema’s most tragic romantic stories) and a formidable social commentary (on neoliberalism, on exploitation of cheap labor, among others). The film has been restored and will be shown in Cannes soon and in the Philippines in the coming months.

Voted by:

• Joey Agbayani (Director; Lola, Kidlat)
• Joey Baquiran (Member, Young Critics Circle Film Desk)
• Theodore Boborol (Writer; My Big Love, Kelly! Kelly! Ang Hit na Musical)
• Patrick Campos (Professor, UP Film Institute
• Libay Cantor (Professor, UP Film Institute): “Social realism at its finest, and I think Brocka’s best work talaga. Well acted, nice shots, almost documentary feel ang atmosphere yet the fictional story is poignantly put to life from the novel.”
• Jade Castro (Director; Endo, Zombadings)
• Ina Avellana Cosio (Senior Lecturer, UP Film Institute)
• Sari Dalena (Director; Ka Oryang, Himala Ngayon)
• Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)
• Archie del Mundo (Director; Taksikab, Ang Misis ni Meyor)
• Benjamin Garcia (Director; Batad: Sa Paang Palay, Malan)
• Jag Garcia (Film Professor, De la Salle-College of Saint Benilde)
• Christopher Gozum (Director; Anacbanua, Lawas Kan Pinabli)
• Jerry Gracio (Writer; Mater Dolorosa, Aparisyon)
• Eli Guieb (Professor, UP Film Institute)
• Chuck Gutierrez (Producer, MNL 143; Director, Ulian)
• Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
• Jeffrey Jeturian (Director; Kubrador, Pila Balde)
• Coreen Jimenez (Director, Kano: An American and His Harem): “This is like my Citizen Kane. It just had to be in my list.”
• Ralston Jover (Director; Bakal Boys, Marlon)
• Ed Lejano (Director, UP Film Institute)
• Jet Leyco (Director; Ex Press, Patlang)
• Gerard Lico (Member, Young Critics Circle Film Desk)
• Ian Loreños (Director; Alagwa, The Leaving)
• Bienvenido Lumbera (National Artist for Literature)
• Dado Lumibao (Director; In da Red Corner, Must Be Love)
• Dennis Marasigan (Director; Sa North Diversion Road, Vox Populi)
• Adrian Mendizabal (Film Writer, Auditoire)
• Ramon Nocon (Board Member, Society of Filipino Archivists for Film)
• Bono Olgado (Director, National Fim Archives of the Philippines)
• Cenon Palomares (Lecturer, UP Film Institute)
• Senedy Que (Writer; Mga Munting Tinig, Homecoming)
• Jose Javier Reyes (Director; Makati Ave: Office Girls, Kasal Kasali Kasalo)
• Eduardo Roy, Jr. (Director; Bahay Bata; Ang Pinakamagandang One-Night Stand)
• Mike Sandejas (Director; Tulad ng Dati, Dinig Sana Kita)
• Joaquin Enrico Santos (Writer; In the Name of Love, The Strangers)
• Simon Santos (Owner, Video 48)
• Keith Sicat (Director; Ka Oryang, Himala Ngayon)
• Carlitos Siguion-Reyna (Director; Ikaw Pa Lang ang Minahal, Ligaya ang Itawag Mo sa Akin)
• Nicanor Tiongson (Professor Emeritus, UP Film Institute)
• Rolando Tolentino (Member, Manunuri ng Pelikulang Pilipino)
• Jake Tordesillas (Writer; High School Circa ’65, Bagets): “Bembol’s eyes and Hilda’s helplessness will forever be in my memories.”
• Nestor U. Torre (Film Writer, Philippine Daily Inquirer)
• Mauro Feria Tumbocon (Founder, Filipino Arts and Cinema)
• Rodolfo Vera (Writer; Niño, Boses)
• Jerome Zamora (Writer; Bahay Bata, Haruo)

PART 1

PART 2

PART 3

PART 4

FULL TALLY

INDIVIDUAL BALLOTS

De Leon’s uproarious caper comedy features Japanese drug smugglers, Chinese mafia, and, way before Sister Act, dancing nuns. One of Philippine cinema’s most joyous outputs.

Voted by:

• Libay Cantor (Professor, UP Film Institute): “Who says Pinoys can’t be philosophically witty and satirical at the same time? All the things we should be right now, nalipasan na at naiwan na lang sa film vault of history natin, like this one. Our old films like this one are actually very modern kung tutuusin. Loved the humor on this one.”
• Gary Devilles (Professor, Kagawaran ng Filipino, Ateneo de Manila University)
• Katski Flores (Director; Still Life, Dreamboy)
• Coreen Jimenez (Director, Kano: An American and His Harem): “Just like Salawahan, I love watching this movie over and over.”
• Dado Lumibao (Director; In da Red Corner, Must Be Love)
• Pam Miras (Director; Pascalina, Wag Kang Titingin)
• Bono Olgado (Director, National Film Archives of the Philippines)
• Mike Sandejas (Director; Tulad ng Dati, Dinig Sana Kita)
• Rianne Hill Soriano (Film Reviewer, Business World)
• Jessica Zafra (Film Reviewer, InterAksyon)

19 – ANAK DALITA (Lamberto Avellana, 1956)

Avellana’s most acclaimed work takes a long hard look at post-war urban poverty and its ramifications on the lives of several people taking temporary shelter in the ruins of a cathedral.

Voted by:

• Ina Avellana Cosio (Senior Lecturer, UP Film Institute)
• Sari Dalena (Director; Ka Oryang, Himala Ngayon)
• Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
• Jason Jacobo (Member, Young Critics Circle Film Desk)
• Nonoy Lauzon (Programmer, UP Film Institute)
• Adrian Mendizabal (Film Writer, Auditoire)
• Jose Javier Reyes (Director; Makati Ave: Office Girls, Kasal Kasali Kasalo)
• Simon Santos (Owner, Video 48)
• Nicanor Tiongson (Professor Emeritus, UP Film Institute)
• Noel Vera (Film Writer, Critic after Dark): “Lamberto Avellana combines the terrible images of Manila’s ruins (the film was shot a decade after war’s end, but due to lack of funds reconstruction was hardly complete) with a penchant for directing lively colloquial dialogue, and fine unforced performances from Rosa Rosal and Tony Santos; the result is a noirish melodrama set in an unrelentingly bleak postwar reality.”
• Award-winning young director who wishes to remain anonymous

18 – TATLONG TAONG WALANG DIYOS (Mario O’Hara, 1976)

Tatlong Taon… is a war film: it is set in rural Philippines at the onset of the Second World War. But it is above all an anti-war film: it forces Filipino viewers to empathize with an “enemy”, to realize that, in the grand scheme of things, we are human beings first before we are anything else.

Voted by:

• Archie del Mundo (Director; Taksikab, Ang Misis ni Meyor)
• Patrick Flores (Founding Member, Young Critics Circle Film Desk)
• Jerry Gracio (Writer; Mater Dolorosa, Aparisyon)
• Joni Gutierrez (Professor, UP Film Institute)
• Jason Jacobo (Member, Young Critics Circle Film Desk)
• Nonoy Lauzon (Programmer, UP Film Institute)
• Arminda Santiago (Professor, UP Film Institute)
• Noel Vera (Film Writer, Critic after Dark): “Mario O’Hara’s masterwork, a film with enough empathy to understand even the wartime Japanese at their worse, the wartime Filipinos at their best. Visually and emotionally, the greatest Filipino film ever made.”
• Rodolfo Vera (Writer; Niño, Boses)

17 – BURLESK QUEEN (Celso Ad. Castillo, 1977)

Known as much for star Vilma Santos’ career-defining performance as a burlesque dancer as Ad. Castillo’s virtuoso handling of the material, Burlesk Queen remains one of the most enthralling in Philippine cinema.

Voted by:

• Patrick Flores (Founding Member, Young Critics Circle Film Desk)
• Eli Guieb (Professor, UP Film Institute)
• Jeffrey Jeturian (Director; Kubrador, Pila Balde)
• Coreen Jimenez (Director, Kano: An American and His Harem): “That long dance sequence of Chato is movie magic, it’s one of the most mesmerizing scenes ever shot.”
• Ed Lejano (Director, UP Film Institute)
• Senedy Que (Writer; Mga Munting Tinig, Homecoming)
• Joaquin Enrico Santos (Writer; In the Name of Love, The Strangers)
• Mauro Feria Tumbocon (Founder, Filipino Arts and Cinema)
• Noel Vera (Film Writer, Critic after Dark): “Celso Ad Castillo’s film about an innocent lass turned burlesque dancer is really less about narrative coherence (why is Joonnee Gamboa’s impresario–a great performance, by the way– in this picture, and what, exactly, is he saying?) and more about visual texture and lyrical imagery. A masterpiece from what fellow filmmaker Mario O’Hara once called ‘the finest eye in Philippine Cinema’.”
• Jessica Zafra (Film Reviewer, InterAksyon)
• Jerome Zamora (Writer; Bahay Bata, Haruo)
• Award-winning scriptwriter/producer who wishes to remain anonymous

16 – NUNAL SA TUBIG (Ishmael Bernal, 1975)

Bernal’s ethnographic look at life in an island was ahead of its time: Bernal was concerned less with narrative and more with mood and texture, crafting a film that merits multiple viewings for a richer reading.

Voted by:

• Adolfo Alix, Jr. (Director; Haruo, Kalayaan)
• Jojo Devera (Film Writer, Sari-Saring Sineng Pinoy): “A landmark in Philippine filmmaking. Aside from showcasing connotative employment of the filmic language, it is the first Filipino film that comes closest to projecting a statement not about conditions obtained in the Philippine countryside but about a universal issue generally designated as the human condition.”
• Benjamin Garcia (Director; Batad: Sa Paang Palay, Malan)
• Christopher Gozum (Director; Anacbanua, Lawas Kan Pinabli)
• Jerry Gracio (Writer; Mater Dolorosa, Aparisyon)
• Eli Guieb (Professor, UP Film Institute)
• Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
• Ralston Jover (Director; Bakal Boys, Marlon)
• Gutierrez Mangansakan II (Director; Limbunan, Qiyamah)
• Arminda Santiago (Professor, UP Film Institute)
• Mauro Feria Tumbocon (Founder, Filipino Arts and Cinema)
• Award-winning young director who wishes to remain anonymous

15 – ORAPRONOBIS (Lino Brocka, 1989)

Brocka’s relentless depiction of post-EDSA human rights violations was so incendiary it was banned by the Cory Aquino government and was only shown commercially after it was screened, and lauded, in Cannes.

Voted by:

• Misha Anissimov (Film Professor, University of San Carlos)
• Archie del Mundo (Director; Taksikab, Ang Misis ni Meyor)
• Gary Devilles (Professor, Kagawaran ng Filipino, Ateneo de Manila University)
• Zig Dulay (Writer; Posas, Ad Ignorantiam)
• Eli Guieb (Professor, UP Film Institute)
• Bienvenido Lumbera (National Artist for Literature)
• Adrian Mendizabal (Film Writer, Auditoire)
• Arminda Santiago (Professor, UP Film Institute)
• Dondon Santos (Director; Noy, Dalaw)
• Nicanor Tiongson (Professor Emeritus, UP Film Institute)

14 – EBOLUSYON NG ISANG PAMILYANG PILIPINO (Lav Diaz, 2004)

Diaz’ sprawling micro-historical epic epitomizes the artistic freedom made possible by the then-emerging digital technology: it’s eleven hours of uncompromising yet tremendously rewarding viewing experience.

Voted by:

• Adolfo Alix, Jr. (Director; Haruo, Kalayaan)
• Misha Anissimov (Film Professor, University of San Carlos)
• Jojo Devera (Film Writer, Sari-Saring Sineng Pinoy): “Ebolusyon Ng Pamilyang Pilipino is a powerful movie. It is a movie that makes us abide by the torment and agony that is Philippine history in the last thirty years. It relieves the darkness of Martial Law, the dilemmas of the Aquino transition and the bedlam that constitutes the present. The movie explains much of the horror and confronts it.”
• Christopher Gozum (Director; Anacbanua, Lawas Kan Pinabli)
• Coreen Jimenez (Director, Kano: An American and His Harem): “This opened my eyes about watching movies. I didn’t know I was actually going to appreciate watching a 10-hour movie. Lav is crazy!”
• Jon Lazam (Director; Nang gabing maging singlaki ng puso ang bato ni Darna, Hindi sa Atin ang Buwan)
• Gutierrez Mangansakan II (Director; Limbunan, Qiyamah)
• Adrian Mendizabal (Film Writer, Auditoire)
• Carlitos Siguion-Reyna (Director; Ikaw Pa Lang ang Minahal, Ligaya ang Itawag Mo sa Akin)
• Rolando Tolentino (Member, Manunuri ng Pelikulang Pilipino)
• Mauro Feria Tumbocon (Founder, Filipino Arts and Cinema)
• Award-winning young director who wishes to remain anonymous

13 – BATANG WEST SIDE (Lav Diaz, 2001)

The highest-ranked film from the new millennium, Diaz’ patient examination of the lives of immigrant Filipinos in New Jersey, USA is considered the first modern Filipino classic film.

Voted by:

• Jade Castro (Director; Endo, Zombadings)
• Sari Dalena (Director; Ka Oryang, Himala Ngayon)
• Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
• Jeffrey Jeturian (Director; Kubrador, Pila Balde)
• Ed Lejano (Director, UP Film Institute)
• Ian Loreños (Director; Alagwa, The Leaving)
• Adrian Mendizabal (Film Writer, Auditoire)
• Pam Miras (Director; Pascalina, Wag Kang Titingin)
• Ramon Nocon (Board Member, Society of Filipino Archivists for Film)
• Bono Olgado (Director, National Fim Archives of the Philippines)
• Mike Sandejas (Director; Tulad ng Dati, Dinig Sana Kita)
• Chris Eriz Sta. Maria (Film Blogger, The One-Legged Woman is Queen)
• Award-winning scriptwriter/producer who wishes to remain anonymous
• Noel Vera (as runner-up): “As the filmmaker himself put it the first true Lav Diaz film, and to my mind finest: witty dialogue and moody cinematography and a grave manner of musing over life’s imponderables that recalls Terence Malick (only Malick never invested as much time–near five hours–over said imponderables). Along with Bagong Bayani the definitive portrait of the Filipino Diaspora, with a hauntingly ambiguous conclusion.”

12 – MABABANGONG BANGUNGOT (Kidlat Tahimik, 1977)

Tahimik’s satirical critique of postcolonial Philippines’ continuing obsession with Western conceptions of progress was made for a pittance yet has been extremely influential to young, politically conscious filmmakers.

Voted by:

• Misha Anissimov (Film Professor, University of San Carlos)
• Jan Philippe Carpio (Director; Balay Daku, Girl of My Dreams): “A film that showed me how film can be anything and it is we who limit it, how ‘limited’ resources can be turned into a great wellspring for creative freedom, and the independence of our souls is just as if not more important than political independence.”
• Sari Dalena (Director; Ka Oryang, Himala Ngayon)
• Ray Defante Gibraltar (Director; Wanted: Border, When Timawa Meets Delgado)
• Patrick Flores (Founding Member, Young Critics Circle Film Desk)
• Jag Garcia (Film Professor, De la Salle-College of Saint Benilde)
• Christopher Gozum (Director; Anacbanua, Lawas Kan Pinabli)
• Ralston Jover (Director; Bakal Boys, Marlon)
• Skilty Labastilla (Member, Young Critics Circle Film Desk)
• Gutierrez Mangansakan II (Director; Limbunan, Qiyamah)
• Bono Olgado (Director, National Fim Archives of the Philippines)
• Cenon Palomares (Lecturer, UP Film Institute)
• Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)
• Chris Eriz Sta. Maria (Film Blogger, The One-Legged Woman is Queen)
• Rianne Hill Soriano (Film Reviewer, Business World)

11 – TINIMBANG KA NGUNIT KULANG (Lino Brocka, 1974)

Brocka’s powerful commentary on middle-class Christians’ opinion and treatment of people in the margins is as biting now as when it was released.

Voted by:

• Dwein Tarhata Baltazar (Director, Mamay Umeng)
• John Bedia (Writer; Amok, Boundary): “A searing and excellent social commentary.”
• Jan Philippe Carpio (Director; Balay Daku, Girl of My Dreams): “A film that exposed the hypocrisy and collusion between the elite, the community and the religious and showed how much the dictates of society are incompatible with real love and compassion.”
• Skilty Labastilla (Member, Young Critics Circle Film Desk)
• Eileen Legaspi-Ramirez (Art Studies Professor, UP Diliman)
• Ian Loreños (Director; Alagwa, The Leaving)
• Dado Lumibao (Director; In da Red Corner, Must Be Love)
• Dennis Marasigan (Director; Sa North Diversion Road, Vox Populi)
• Adrian Mendizabal (Film Writer, Auditoire)
• Ramon Nocon (Board Member, Society of Filipino Archivists for Film)
• Jose Javier Reyes (Director; Makati Ave: Office Girls, Kasal Kasali Kasalo)
• Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)
• Mike Sandejas (Director; Tulad ng Dati, Dinig Sana Kita)
• Jake Tordesillas (Writer; High School Circa ’65, Bagets): “Brought awareness during 70s that Pinoy films can compare with American movies.”
• Rodolfo Vera (Writer; Niño, Boses)
• G.A. Villafuerte (Director, Lihim ng mga Nympha, Hardinero)
• Award-winning scriptwriter/producer who wishes to remain anonymous

PART 1 (50-43)

PART 2 (40-31)

PART 3 (30-21)

PART 5 (10-1)

FULL TALLY

INDIVIDUAL BALLOTS

30 – KINATAY (Brillante Mendoza, 2009)

The movie that Roger Ebert calls the worst in the history of Cannes takes viewers along a harrowing road trip to hell and back.

Voted by:

• Theodore Boborol (Writer; My Big Love, Kelly! Kelly! Ang Hit na Musical)
• Ina Avellana Cosio (Senior Lecturer, UP Film Institute)
• Chuck Gutierrez (Producer, MNL 143; Director, Ulian)
• Jet Leyco (Director; Ex Press, Patlang)
• Senedy Que (Writer; Mga Munting Tinig, Homecoming)
• Rolando Tolentino (Member, Manunuri ng Pelikulang Pilipino)
• Mauro Feria Tumbocon (Founder, Filipino Arts and Cinema)

29 – TUHOG (Jeffrey Jeturian, 2000)

Jeturian’s hilarious skewering of mainstream cinema’s sexploitation films is still as fresh today as it was thirteen years ago.

Voted by:

• John Bedia (Writer; Amok, Boundary): “Perfect blend of script and direction. The movie is witty and smart, funny and sad but at the same time true”
• Theodore Boborol (Writer; My Big Love, Kelly! Kelly! Ang Hit na Musical)
• Zig Dulay (Writer; Posas, Ad Ignorantiam)
• Chuck Gutierrez (Producer, MNL 143; Director, Ulian)
• Shaira Mella Salvador-MacKenzie (Writer; Tanging Yaman, Sana Maulit Muli)
• Jerome Zamora (Writer; Bahay Bata, Haruo)
• Award-winning young director who wishes to remain anonymous

28 – ANG PAGDADALAGA NI MAXIMO OLIVEROS (Auraeus Solito, 2005)

The critical and commercial success of Maximo Oliveros encouraged young independent filmmakers to make more films and ushered in what is now regarded as the Third Golden Age of Philippine Cinema.

Voted by:

• Theodore Boborol (Writer; My Big Love, Kelly! Kelly! Ang Hit na Musical)
• Libay Cantor (Professor, UP Film Institute): “Concept pa lang — pagdadalaga ng boylet — patok na. What more the rest of the narrative and the unforgettable character and actor that portrayed him. Never mind if it was shot so Star Cinematically polished for an “indie film” but hey, it works.”
• Gary Devilles (Professor, Kagawaran ng Filipino, Ateneo de Manila University)
• Katski Flores (Director; Still Life, Dreamboy)
• Jag Garcia (Film Professor, De la Salle-College of Saint Benilde)
• Joni Gutierrez (Professor, UP Film Institute)
• Ian Loreños (Director; Alagwa, The Leaving)
• Eduardo Roy, Jr. (Director; Bahay Bata; Ang Pinakamagandang One-Night Stand)

27 – MAGNIFICO (Maryo J. delos Reyes, 2003)

The movie that is known to make grown men cry, Magnifico introduced moviegoers to the precociously talented Jiro Manio and established the career of gifted screenwriter Michiko Yamamoto.

Voted by:

• John Bedia (Writer; Amok, Boundary): “Beautiful script. Michiko’s best. The ensemble’s solid acting and Maryo J. delos Reyes’ fluid direction tempers the material’s inherent melodramatic potential.”
• Zig Dulay (Writer; Posas, Ad Ignorantiam)
• Coreen Jimenez (Director, Kano: An American and His Harem): “I always watch this movie whenever I see it on cable. There’s something special about this movie.”
• Ralston Jover (Director; Bakal Boys, Marlon)
• Ricky Orellana (Board Member, Society of Filipino Archivist for Film, Inc.): “Michiko Yamamoto’s script is the heart of this moving bittersweet drama. Good ensemble acting too.”
• Eduardo Roy, Jr. (Director; Bahay Bata; Ang Pinakamagandang One-Night Stand)
• Arminda Santiago (Professor, UP Film Institute)
• Jake Tordesillas (Writer; High School Circa ’65, Bagets): “There is goodness in everyone.”

26 – SISTER STELLA L. (Mike de Leon, 1984)

De Leon shows how a deeply political film need not feel didactic or be artistically deficient.

Voted by:

• Gary Devilles (Professor, Kagawaran ng Filipino, Ateneo de Manila University)
• Eli Guieb (Professor, UP Film Institute)
• Senedy Que (Writer; Mga Munting Tinig, Homecoming)
• Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)
• Vincent Sandoval (Director; Aparisyon, Señorita)
• Rolando Tolentino (Member, Manunuri ng Pelikulang Pilipino)
• Nestor U. Torre (Film Writer, Philippine Daily Inquirer)
• Jerome Zamora (Writer; Bahay Bata, Haruo)

25 – BAYANING THIRD WORLD (Mike de Leon, 1999)

Perhaps the Jose Rizal movie that Rizal himself would most appreciate, Bayaning Third World entertainingly deconstructs the man behind the myth.

Voted by:

• Patrick Campos (Professor, UP Film Institute)
• Ina Avellana Cosio (Senior Lecturer, UP Film Institute)
• Eli Guieb (Professor, UP Film Institute)
• Chuck Gutierrez (Producer, MNL 143; Director, Ulian)
• Antoinette Jadaone (Director; Six Degree of Separation from Lilia Cuntapay, Tumbang Preso)
• Eileen Legaspi-Ramirez (Art Studies Professor, UP Diliman)
• Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)
• Mike Sandejas (Director; Tulad ng Dati, Dinig Sana Kita)
• Nicanor Tiongson (Professor Emeritus, UP Film Institute)

24 – MORAL (Marilou Diaz-Abaya, 1982)

Diaz-Abaya was a very influential figure in Philippine cinema, with her films offering a clearly feminist perspective that’s largely absent in the male-dominated film industry, and Moral, in showing the individual travails and triumphs of four female friends, is the quintessential Pinoy feminist film.

Voted by:

• Jan Philippe Carpio (Director; Balay Daku, Girl of My Dreams): “A film that shattered the myth of separating the personal and the political and the tyranny of our film audience and life expectations of people.”
• Zig Dulay (Writer; Posas, Ad Ignorantiam)
• Bienvenido Lumbera (National Artist for Literature)
• Bono Olgado (Director, National Film Archives of the Philippines)
• Ricky Orellana (Board Member, Society of Filipino Archivists for Film, Inc.): “One particular scene in this movie which I can’t forget because it is funny yet strangely affecting is when Kathy (Gina Alajar) tries her best to sing in a studio believing that she can deliver but then realizes that she can’t hit the right notes; breaking down to heartfelt sobs in the middle of a recording.”
• Senedy Que (Writer; Mga Munting Tinig, Homecoming)
• Vincent Sandoval (Director; Aparisyon, Señorita)
• Arminda Santiago (Professor, UP Film Institute)
• Rianne Hill Soriano (Film Reviewer, Business World)

23 – KARNAL (Marilou Diaz-Abaya, 1984)

Diaz-Abaya brought to vivid life Ricky Lee’s version of a Greek tragedy, with incest, parricide, suicide, and infanticide all wrapped in one heady brew of a movie.

Voted by:

• Joey Agbayani (Director; Lola, Kidlat)
• Joey Baquiran (Member, Young Critics Circle Film Desk)
• John Bedia (Writer; Amok, Boundary): “Theatrical and showy. Dark and twisted. A different take on family intrigue and small town set hiding a dark secret story. Charito Solis’ performance is for the books.”
• Sari Dalena (Director; Ka Oryang, Himala Ngayon)
• Bienvenido Lumbera (National Artist for Literature)
• Senedy Que (Writer; Mga Munting Tinig, Homecoming)
• Shaira Mella Salvador-MacKenzie (Writer; Tanging Yaman, Sana Maulit Muli)
• Joaquin Enrico Santos (Writer; In the Name of Love, The Strangers)
• Keith Sicat (Director; Ka Oryang, Himala Ngayon)
• G.A. Villafuerte (Director, Lihim ng mga Nympha, Hardinero)

22 – SCORPIO NIGHTS (Peque Gallaga, 1985)

One of the best erotic films, Filipino or otherwise, Gallaga’s tale of surrendering to the call of the flesh when nothing else in life is as appealing has been imitated countless times but has never been matched.

Voted by:

• Lex Bonife (Writer; Ang Lalake sa Parola, Ang Lihim ni Antonio): “Erotica at its best.”
• Libay Cantor (Professor, UP Film Institute): “So whenever they say the Filipino is conservative and devoid of sensuality ek, please direct them to old(!) movies and redirect them to this one. Yes, as a culture, we have kink. And even if we don’t say it out loud, the movies are proof that some things do exist in our culture. Like this one.”
• Jade Castro (Director; Endo, Zombadings)
• Zig Dulay (Writer; Posas, Ad Ignorantiam)
• Ed Lejano (Director, UP Film Institute)
• Eduardo Roy, Jr. (Director; Bahay Bata; Ang Pinakamagandang One-Night Stand)
• Joaquin Enrico Santos (Writer; In the Name of Love, The Strangers)
• Rianne Hill Soriano (Film Reviewer, Business World)
• Award-winning scriptwriter/producer who wishes to remain anonymous

21 – GENGHIS KHAN (Manuel Conde, 1950)

Recently remastered and restored, Conde’s epic vision of the beginnings of Genghis Khan’s rise to power begs to be seen on the big screen for its grandeur to be fully appreciated.

Voted by:

• Patrick Campos (Professor, UP Film Institute)
• Patrick Flores (Founding Member, Young Critics Circle Film Desk)
• Chuck Gutierrez (Producer, MNL 143; Director, Ulian)
• Skilty Labastilla (Member, Young Critics Circle Film Desk)
• Bono Olgado (Director, National Film Archives of the Philippines)
• Jose Javier Reyes (Director; Makati Ave: Office Girls, Kasal Kasali Kasalo)
• Jun Cruz Reyes (Former Member, Manunuri ng Pelikulang Pilipino)
• Rianne Hill Soriano (Film Reviewer, Business World)
• Jake Tordesillas (Writer; High School Circa ’65, Bagets): “The first Filipino film to make an impact abroad.”

Part 1 (50-43)

Part 2 (40-31)

Part 4 (20-11)

Part 5 (10-1)

Full Tally

Individual Ballots