50 Greatest Pinoy Films of All Time Part 4 (20-11)

20 – KARNAL (Marilou Diaz-Abaya, 1984)

karnalDiaz-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, The Guerrilla Is a Poet)
  • 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, Woman of the Ruins)
  • G.A. Villafuerte (Director, Lihim ng mga Nympha, Hardinero)

19 – KAKABAKABA KA BA? (Mike de Leon, 1980)

kakabakabakabaDe 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 LifeDreamboy)
  • 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 CornerMust Be Love)
  • Pam Miras (Director; PascalinaWag Kang Titingin)
  • Bono Olgado (Director, National Film Archives of the Philippines)
  • Mike Sandejas (Director; Tulad ng DatiDinig Sana Kita)
  • Rianne Hill Soriano (Film Reviewer, Business World)
  • Jessica Zafra (Film Reviewer, InterAksyon)

18 – ORAPRONOBIS (Lino Brocka, 1989)

orapronobis2Brocka’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; TaksikabAng Misis ni Meyor)
  • Gary Devilles (Professor, Kagawaran ng Filipino, Ateneo de Manila University)
  • Zig Dulay (Writer; Posas, Ad Ignorantiam)
  • Eli Guieb (Professor, UP College of Mass Communications)
  • Bienvenido Lumbera (National Artist for Literature)
  • Adrian Mendizabal (Film Writer, Auditoire)
  • Arminda Santiago (Professor, UP Film Institute)
  • Dondon Santos (Director; NoyDalaw)
  • Nicanor Tiongson (Professor Emeritus, UP Film Institute)

17 – ANAK DALITA (Lamberto Avellana, 1956)

anakdalita2Avellana’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

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

burlesk_queenKnown 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 College of Mass Communications)
  • 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

15 – NUNAL SA TUBIG (Ishmael Bernal, 1975)

nunalBernal’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 College of Mass Communications)
  • Mario Hernando (Member, Manunuri ng Pelikulang Pilipino)
  • Ralston Jover (Director; Bakal Boys, Bendor)
  • 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

 

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

ebolusyonDiaz’ 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; Mater Dolorosa, 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)

batang west sideThe 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, The Guerrilla Is a Poet)
  • 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 – ITIM (Mike de Leon, 1976)

itim2De 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, The Guerrilla Is a Poet)
  • 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, Philippino Story)
  • 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, Woman of the Ruins)
  • G.A. Villafuerte (Director, Lihim ng mga Nympha, Hardinero)

11 – MABABANGONG BANGUNGOT (Kidlat Tahimik, 1977)

mababangongbangungotavi_JPTahimik’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, The Guerrilla Is a Poet)
  • 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, Bendor)
  • 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)

100-51

50-41

40-31

30-21

10-1

INDIVIDUAL BALLOTS

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13 thoughts on “50 Greatest Pinoy Films of All Time Part 4 (20-11)

  1. hindi kapanipaniwalang number 17 ang hubaderang palabas kaysa tatlong taong walang dios. i dont think son.

    1. wei ndi nga…sa international standard pag nagampanaman ang role na ibinigay sa iyo kahit nag frontal nudity ka o butt exposure ndi boldstar ang tawag nila true artist…pero sa pinas iba…sabagay ang sukatan na magaling ka dapat puro api apihan ang role mo o kaya katulong..how pathetic…

      1. its not about the role, its about the performance. unfortunately she has no international appeal. enough said

    2. sorry magpakamatay ka man…polls lang yan uy. sana ikaw n lang ang bumuo ng sarili mong poll then lahat kayung kampon ni ADIK AUNOR ay iboto nyo kahit ung super pagkaflop sa lahat ng flop na NAG AADIK!!! este Naglaayag na one day last day at ung Annie Shabungera, pakamatay ka na ning!

      1. Vilmanian ka ano? no wonder why your ill-mannered, foul mouthed and uneducated person with mouth full of rubbish. personalin mo man si Nora Aunor, tawagin mo man sya nang ano ano, it doesn’t change the fact na di nya maaabot ang narating ng isang NORA AUNOR. she will alwayas be 5 steps behind. tawagan nyo man sya yo kung ano ano, the bigger than life persona of NORA AUNOR is enough para ma threaten kayo palagi. Laos? hahahaha balikan nyo ang history ng pelikulang pilipino at sabihin mo sa akin kung sino ang mas maraming simplang sa takilya si Guy or si Vi. I’ll be gpoing for now but I will definitely be back in a few hours, waiting for your reply. the debate is not yet over its just getting started.

      2. Sampalk: Tamang tama ka diyan. It is about artistry ang usapan dito. Ke maghubad or magbalot sa sutana si Vilma, litaw na litaw pa rin ang galing. Look ka na lang, biglang isiningit ang “Thy Womb” ni Nora Aunor sa # 50 and as usual panghuling pwesto at tie na naman ang papel!!!! Hahahahaha. Ang dami kayang kalahok na pelikula ni Ate Vi dito: Relasyon; Pagputi Ng Uwak, Pag-itim Ng Tagak; Burlesk Queen and Sister Stella L. Isang Grandslam Film na may Grand Slam Best Actress, Dalawang Film na Best Picture ( Pagputi Ng Uwak, Pag-itim Ng Tagak and Sister Stella L.) and of course ang legendary Burlesk Queen na ipinagkalat noon ng mga Noranian na binawi ang award sa MMFF, pero nunca, best and classic pa rin na hindi kagaya ng “Thy Womb” na hanggang dito ay nasa ikahuling puwesto na nga inihabol pa bigla, huwag ding kalimutan na binawian ito ng mga sinehan as in best half-day-pulled-out showing, ito ay hindi na mabubura sa kasaysayan ng pelikulang Pilipino!!!

  2. Ahahay, ang sarap-sarap naman nito, mga pelikulang may best actress awards si Ate Vi, best film din at the same time (except for “Pagputi Ng Uwak, Pag-itim Ng Tagak”). Si Nora naman kasi sa “Himala” dinala lang at binuhat siya dito ng pagkakagawa ni Bernal sa pelikula kaya medyo nakalusot sa #2. Pero ang “Relasyon”, grand slam best actress na, nasa best film list pa, kumita pa sa takilya ng husto!!! Eh saan ka pa noh?!!!

  3. That only shows that even new movies of the superstar is always labeled one the BEST, bakit, nasali ba ang the Healing. ibig lang sabihin nyan. mga bagong movies ni Vilma are puro commercial lang. Meaning consistently good and mga films ni Guy. Kasabot mo?

  4. Ano ba ang huling pelikula ni Nora bago makiusap kay Brilliante na isama siya sa pelikula nito? Care Home and Ingrata? O ano, nasali ba dito ang mga pelikulang iyan? Well, gustong bumalik-balik kaya sumasabit sa mga winners. Wait ka na lang sa “Ekstra” noh? Madaming pelikulang ini-offer kay Vilma kasama na ang “Independencia” pero hindi niya nagawa ito dahil nga busy. Naku, iyong horror movie ni Nora na Bakekang and Sidhi hindi naisali dito noh, ano commercial ba ang mga iyan? Eh bakit hindi kumita? Sana kumita man lang kahit hindi nasali dito sa listahan. Hay buhay!!!

    1. Ang ending mas kumita pa ang indie ni ate GUY na Thy Womb kesa Ekstra ni ate Vi, ano nagawa ng mga big stars extras sa movie nato? Ni walang report sa box office mojo? Itinatago ng Star Cinema to protect her image at mabubukong mahina pala kapag Indie na…malakas pa ang Indie na ang bida ay si Melai aka Queen of the Riles!

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