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| 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.
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