Safeguarding the moving images of Mindanao
Mindanao cinema is growing and continues to contribute to the development of Philippine cinema. Many filmmakers from Minda…
Lingua Franca: A trans-immigrant’s search for love and home
Isabel Sandoval’s Lingua Franca continues the current trajectory in contemporary film that signals this forward shift tow…
From bayot to mareng: Queer expressions in films from the Philippine regions
A still from Xeph Suarez's Astri Maka Si Tambulah , 2017 The advent of digital technology allowed film production to t…
Of love, border realities and migration
Phuttiphong Aroonpheng's Manta Ray (2018) Over a week ago, Facebook users in the Philippines discovered that duplicat…
The changing landscape of queer cinema in the Philippines
A still from Alvin Yapan's Ang Sayaw Ng Dalawang Kaliwang Paa , 2011 The landscape of queer cinema in the Philippines …
Uncle Boonmee Who We Still Recall 10 Years On
Ten years ago, Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives won the top prize at Cannes m…
How will the COVID-19 pandemic reshape cinema?
In less than five months, the COVID-19 pandemic has changed the course of modern history. With the threat of a global re…
The Otherworldly World: A review of Kamila Andini’s The Seen and Unseen
Kamila Andini’s The Seen and Unseen begins with the specter of death but the unfolding narrative is not seeped in tragedy…
Forest Tales or the Lives of Others
“And we tired of wandering through the forest and along the banks of rivers. And we began settling. We invented villages…
A decade in Mindanao cinema
Like a butterfly that has emerged from its cocoon, Mindanao cinema took a shape of its own this decade and becoming an imp…
A diptych for Bikol cinema
Nora Aunor in Kristian Sendon Cordero's Hinulid (2016) There is something about the diptych, an ancient religious icon…