Cinemalaya 2025 Roundup

Cinemalaya

In the order I watched them:

Warla

Warla shines in its warm, joyful portrait of sisterhood and its clear look at the daily struggles of transwomen in the Philippines. The characters are vivid and the dialogue lively, but the climactic heist feels messy and unsure. I love it when it's about sisterhood and their playful banters. Bernie steals scenes, and Kaladkaren shows real acting chops. Her face belongs on the big screen.

Padamlagan

Jenn Romano's Bikol-set Padamlagan, has a clear vision but uneven execution likely due to constraints. Its elegance and restraint invite reflection, spotlighting the 1972 Colgante Bridge collapse, Peñafrancia procession, and the presence of revolutionaries under Martial Law, stories many may not know. Ely Buendia has a few moments and clearly tries.

Habang Nilalamon ng Hydra ang Kasaysayan

Dustin Celestino's second Cinemalaya film feels bolder and more assured, echoing yet distinguishing itself from his 2023 entry, Duyan ng Magiting. It is still driven by words, parts, and conversations, this time circling what I find to be satirical "all fiction" disclaimer while clearly shadowing real events from the 2022 Philippine elections. His characters speak like sharp thinkers almost philosopher-like, often infusing Greek myth. People rarely talk this way in real life, which I find to be exactly the film's spell. The dialogues are lively, probing, and full of ideas about hope amid corruption and misinformation. Even without the themes, the multiple dinner-table clapbacks and confrontations slap. The ensemble shines, with standout turns from Dolly de Leon, Mylene Dizon, and Jojit Lorenzo, all nailing the biting script.

Raging

Apart from Dustin Celestino, Cinemalaya 2025 also features a second entry from 2023 with Ryan Machado. Raging, which is technically polished and skillfully crafted, but it sadly pales in comparison to his Cinemalaya debut Huling Palabas. While his first film was rough around the edges, it felt miles ahead more intriguing, lively, and fresh. Raging lacks that same spark. Even the dependable Elijah Canlas seems to do more than the role requires. Raging is polished, yet it leaves little to chew on. Gorgeous film.

Republika ng Pipolipinas

Republika ng Pipolipinas features my favorite performance of the festival. Geraldine Villamil is subtle yet striking, inhabiting the lead role of a woman so tired of the country that she created her own. She embodies the character so fully that it feels too real. Scary real. It is smart casting. While Villamil is already seasoned in both indie and mainstream work, she disappears into the part and deserves even wider recognition. The satire-mockumentary form is familiar in Cinemalaya, yet this is a welcome return. Its premise, a micronation led by a Pinay drained by the country's frustrations, is sharp and timely. The film is both hilarious and crazy, yet you leave feeling the grit, heaviness, exhaustion, and anger that mirror what's currently happening on the streets.

Open Endings

Open Endings excels through its genuine care for its four main characters, evident in both its writing and filmmaking. The film deliberately avoids flashy aesthetics, choosing an engaging tangled plot over style. It steers clear of typical "hugot" moments and iconic dialogue, focusing instead on authentic character development. The ensemble cast is a perfect blend of veteran actors (Janella Salvador and Jasmine Curtis-Smith) with promising and charismatic newcomers (Leanne Mamonong and Klea Pineda). The film presents beautifully flawed characters without judgment, even when their advocates in media most of the time attempt to portray them as perfect due to discrimination they face. Unlike other films that might sanitize their characters (see Warla), Open Endings embraces complexity without preaching. It simply allows its characters to exist as they are, creating a more honest and compelling narrative. Strong ending, too!

Cinemartyrs

Cinemartyrs is a unique, avant-garde film that engages despite its convoluted themes. It blends genres, shifting between meta, horror, and documentary styles. The subject matter also evolves, exploring filmmaking, women's roles, and regional representation in the Philippines. The film's explosion of ideas, genres, striking visuals, and creative sounds creates a great cinematic experience, with lingering images and thought-provoking messages. Its confident storytelling and clear love for cinema, especially women's roles in it, make it memorable. Think of Babylon's ending.

My ranking (so far):
1. Habang Nilalamon ng Hydra ang Kasaysayan

2. Open Endings

3. Republika ng Pipolipinas

4. Cinemartyrs

5. Raging

6. Padamlagan

7. Warla

The 2025 Cinemalaya Film Festival will take place October 3-12 at Red Carpet cinemas in Shangri-La Plaza, Gateway, and additional partner venues.

MMFF 2024 Roundup

Metro Manila Film Festival

In the order I watched them:

Espantaho

Watch Espantaho if you find pleasure in seeing actresses serve tears, rage, and intense acting all at once. It's well-acted, though we've seen Juday, LT, and Chanda Romero perform even better in other roles. Watch it for the horror and you'll likely be disappointed. It follows the horror formula that Chito Roño thrived on during the 2000s with films like Feng Shui, Sukob, T2, and, if we must include it, even The Healing. Sadly, it's outdated and not at all terrifying. At points it's even unintentionally funny. If it's trying to be camp, then it's quite vanilla in its attempt. There's also a lack of emotional connection in many of its death scenes. The supporting characters' deaths elicit no grief, with mourning reserved only for the main character.

And the Breadwinner Is...

So much hype surrounding And the Breadwinner Is... as it's a fusion of Jun Lana's indie sensibilities and Vice Ganda's mainstream appeal. There's also anticipation regarding what's been said about Vice performing in a heavy drama. The film lives up to the hype. It's as heavy as it can be, and it's not without surprises, which include a mashup of Vice's previous film characters. If you look at it as a whole, it's really just a simple story. The film was created for Vice, with the timely theme of a breadwinner in mind. Together, they've made the character Bambi, and to an extent Vice, a saint and a hero, which is very much deserved. The ensemble is good. The movie as a whole is really just fine.

Isang Himala

Frankly, the music is not that memorable :( , which doesn't help the film, especially for a musical in this climate. I appreciate the use of film as a medium to elevate the stage production, though I can't help but think that it could have done even more. It's limited, but it did well. Still, much credit should be given to Pepe Diokno and his team. This is a challenging musical to adapt, and they did what they could. There are powerful moments, especially the ending, but it's Himala - it would be a failure if the message alone wasn't conveyed. The performances are great.

Uninvited

Always fun to see Vilma Santos be vengeful in movies. If there's one thing I loved about this film, it's that it reminded me of her other (and superior) revenge film, Ikaw Lang, her collaboration with another MMFF director, Chito Rono. What it also reminded me of is how good Aga Muhlach actually is at acting. I thought he was superb, as were the rest of the cast. It's also the most well-made of the bunch. It's simple, no fat, and there are no over-the-top scenes, even when most revenge films call for them. I find this to be its weakness too. However, it's hard to say there's not much to it when what is shown is actually heavy, serious, and brutal. Ate Vi's Mystic River.

The Kingdom

Very impressive to see a Filipino film dissect an alternate universe where the Philippines was never colonized by any other countries. It even confidently declares in its very first scene, before the title card appears, that we wouldn't allow any foreign ships to fire water cannons at us in our own territory. This serves as a great introduction to a very gaggy film, filled with politics, twists and turns, and even epic storylines. It's probably the most fun I've had among the six films I've seen because not only is it engaging, but it's also a film we haven't seen before. Sure, the political aspect is a rehash of other power-chasing themed films, but then again, those films are rehashes of any other film of the same kind. Highly recommended.

Green Bones

Green Bones has a strong Kore-eda influence, making it a great introductory film for Philippine viewers who are unfamiliar with the Japanese filmmaker. It's an earnest film that encourages viewers to take a closer look at its flawed characters, connect with them, and empathize. While the theme may be too familiar to those who have seen many of Kore-eda's works, Green Bones is good enough to be discussed alongside the Japanese director's filmography. A bold claim, but same themes naman eh. However, the standout aspect of this film is its revolt disguised as a parable. Not a surprise because Ricky Lee is one of the screenwriters. The film serves as a critique of our society, yet it is portrayed with a tender and compassionate touch. Lots of sunsets, a cat, a tree of hope, frowns-turned-smiles, and sinners trying to be good. A massive improvement from Zig Dulay's previous MMFF film, Firefly.

My Ranking (so far):

1. Green Bones

2. Isang Himala

3. The Kingdom

4. Uninvited

5. And the Breadwinner Is…

6. Espantaho

'Killers of the Flower Moon' - Love Crosses Paths with Greed in Martin Scorsese's Multilayered Epic About the Osage

In the 20th century, oil brought wealth to the tribe of the Osage who's considered as some of the richest community in the world overnight. These Native Americans instantly attracted the whites who exploited, manipulated, and stole as much Osage money as they could before resorting to a massacre.

Based on a true story and told through the fascinating romance between Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone), Killers of the Flower Moon is an epic western crime film, where love crosses paths with greed. A deadly sin disturbingly portrayed by Robert de Niro as a greedy cattle farm owner, William Hale, who considers himself an ally of the Osage despite his cruel intentions.

Photo Credit: Paramount Pictures PH

Killers of the Flower Moon is a harrowing story about the deaths of the Osage tribe, but the power dynamics between Burkhart and his uncle, and Burkhart's love story with Mollie, are also what keeps it chillingly fascinating. It is in a way a character study of how humans are blinded by greed, and how love blinds wisdom. Leonardo DiCaprio, Lily Gladstone, and Robert De Niro are a powerhouse of a trio. All acted their soul off with DiCaprio showing certain mannerisms that's reminiscent of Marlon Brando in The Godfather.

Martin Scorsese on the other hand has proven to be a solid storyteller from time to time, but he's got some new tricks up his sleeve on how he started and ended this 3-hour saga in a way that feels proper on how to tell a harrowing story about a tribe he doesn't belong to. He's playful, he's risky, but his usual simple and straightforward storytelling make this a breeze to watch.

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Killers of the Flower Moon opens in cinemas nationwide, October 18. 

A Hellish Pre-Halloween Horror Unleashes in David Gordon Green's 'The Exorcist: Believer'

Experience the terror earlier with its midnight screenings nationwide (also on its opening day Oct. 4)!

Photo Credit: Universal Pictures International Ph

One of the scariest and most iconic horror films ever made The Exorcist is celebrating its fiftieth anniversary. From its veins, is a new chapter that would summon new nightmares in Blumhouse's 'The Exorcist: Believer'. Directed by Halloween ressurector David Gordon Green.

“The Exorcist: Believer” opens October 4. Terror starts to strike at the midnight screenings on its opening day at your favorite theaters!

Follow Universal Pictures Ph on Facebook and Instagram pages. #TheExorcistBelieverPh

Ayala Malls Cinemas x FDCP Presents World Cinema Festival

Featuring a slate of critically-acclaimed films across the globe--Charlotte Wells' Aftersun, Vicky Krieps-starred Corsage, Cannes Grand Jury Prize winner Close, and 2022 QCinema-showcased Return to Soul.

Ayala Malls continue to recognize and celebrate the arts and culture in the country and strive to provide its cinema lovers with a rare moviegoing experiences through exclusive offerings such as these critically acclaimed films that we can only look forward to at Ayala Malls Cinemas.

FDCP, on the other hand, extends its advocacy to deliver a rich cinematic experience for the Filipino audience, bringing a rare lineup of films that would be more accessible for moviegoers.

Here's hoping that moviegoers would enjoy this rare yet accessible cinema showcase in hopes to expand the experience and knowledge that Filipinos usually see in our local cinemas.

Book your tickets at any of your favorite Ayala Malls Cinemas -  Manila Bay Cinema, Greenbelt 3, Trinoma, Solenad, Capitol Central, Central Bloc, Centrio Cinema, Abreeza and Harbor Point.  Admission prices at P250 in Metro Manila and P200 in provinces.

Follow Ayala Malls Cinemas on Facebook for more of the latest updates.