Features

It’s that time of the year again.  November lies in the transition from the normal days to the holiday season. In a month where horrific decorations are hung on stores…

The past isn’t always how you’d remember it to be. Sometimes, you single out the bad things, sometimes only the good. Sometimes, you heighten it in such a way you…

Rarely is religion a point of contention among Filipinos. It has ingrained itself in the deeper mantle of culture, cementing its place as the lifeblood of a faithful country. Himala:…

Text by Robert Gutierrez Jr.   Glorious is the past for some; but in the Philippines, it may prove dangerous for everyone. Waving the flag of Philippine cinema’s centennial year,…

It’s difficult to find happy endings. This, of course, is where many movies come in, to show us options we ourselves have trouble claiming. Jun Lana’s The Panti Sisters does…

In every house, a master always reigns. For most, it is a patriarch. For some, it is a matriarch. For the theatre, it is always the director. Dulaang Unibersidad ng…

It’s easy, to believe in something.  Be it principles or higher beings, we choose to believe in a variety of things each day whether they are visible to the eye…

Romance movies have long been powerful tools in teaching audiences how to want, and how to desire. With decades full of them, it’s no wonder that they have created an aimless culture of romance-seeking among this generation.

However, romance movies cannot compare to fairy tales in terms of influencing the culture of desire through centuries. With her new movie Ulan, Director Irene Villamor offers a different take on romance in film as she conjures a whimsical fantasy with a touch of magic realism. However, despite its surreal production design and believable chemistry, Ulan is, as fairy tales are, rotten in its core.

In a world where feminism is finally finding a collective voice through new media, filmmakers and other media-content producers are continuously called to break traditional gender notions in the name of a more diverse and less prejudiced media.

Maria had great potential to be the introductory note to an entirely new breed of action films – one that shapes female characters fully and breaks decades-long reinforced stereotypes. There is much merit to the film’s technical aspects, but there is also so much more it could have done in terms of its message.

Fresh from her movie with JaDine, Antoinette Jadaone leads LizQuen to heights the famed love team has yet to reach in their careers. Alone/Together delivers a satisfying take on a romance abrupted and an individual disenchanted. However, as weightful as the movie may be, it was a frustrated piece that easily could’ve been more provocative if only it were braver.