The Film Desk of the The 28th Annual Circle Citations for Distinguished Achievement 2017in Film for + Sine Sipat: Recasting Roles and Images, Stars, Awards, and Criticism

August 16, 2018 Jorge B. Vargas Museum University of the Roxas Avenue, UP Campus Diliman, City | i } ii The 28th Annual Circle Citations for Distinguished Achievement in 2017Film for + Sine Sipat: Recasting Roles and Images, Stars, Awards, and Criticism

1 2 The Citation he Film Desk of the Young Critics Circle (YCC) first gave its annual citations in film achievement in 1991, a year after the YCC was Torganized by 15 reviewers and critics. In their Declaration of Principles, the members expressed the belief that cultural texts always call for active readings, “interactions” in fact among different readers who have the “unique capacities to discern, to interpret, and to reflect... evolving a dynamic discourse in which the text provokes the most imaginative ideas of our time.”

The Film Desk has always committed itself to the discussion of film in the various arenas of academe and media, with the hope of fostering an alternative and emergent articulation of film critical practice, even within the severely debilitating culture of “awards.”

binigay ng Film Desk ng Young Critics Circle (YCC) ang unang taunang pagkilala nito sa kahusayan sa pelikula noong 1991, ang taon pagkaraang maitatag ang YCC ng labinlimang tagapagrebyu at kritiko. Sa kanilang DeklarasyonI ng mga Prinsipyo, ipinahayag ng mga miyembro ang paniniwala na laging bukas ang mga tekstong kultural sa aktibong pagbasa, sa “mga interaksiyon” ng iba’t ibang mambabasa na may “natatanging kakayahan para sumipat, magbigay-kahulugan, at mag-isip . . . bumuo ng isang dinamikong diskurso kung saan ang texto ay naghahamon para lumikha ng mga pinaka- imahinatibong idea ng ating panahon.”

Ang Film Desk ay lagi nang nagsisikap na talakayin ang pelikula sa iba’t ibang arena ng akademya at media, sa pag-asang magsulong ng alternatibo at umuusbong na artikulasyon ng kritisismong pampelikula kahit sa loob ng nakababaldang kultura ng “mga award.”

3 Interrupting Precarity Lisa Ito-Tapang

ast year was one of uneasy unfoldings, escalating tensions, and rude awakenings for the country. In times of socio-political ferment, art L has always responded in kind: certainly, the possibilities of Philippine cinema as a response to such realities continue to be tested under the reigning regime. The vision and labor of filmmakers demonstrates how the arts and culture sector pursues various turns during interesting times: reflecting and refracting as well as refusing or daring to interrupt this continuum of crisis.

In terms of cinematic production, 2017 sustained the prolific run of recent years, when close to 160 full-length films responding to these turns were released across platforms ranging from commercial releases and independent festivals. This number does not yet include shorter works and other filmic iterations.

Through an extended process of screening and nominations from 2017 to early 2018, 15 films were selected for the YCC Film Desk’s long list for the year. A second tier of selection and discussion eventually narrowed this down to a final shortlist of eight (8) films, which underwent a final round of deliberations that yielded the roster of awardees. As with the previous years, this is a process of valuation and validation that we pursue with earnestness and urgency: concerned not only with the films’ publicly professed messages but with the weight of significations that their production and circulation represent.

4 The shortlisted films intersect in how they engage the current crisis not as much in structurally-directed or overt commentary, but through small stories and symbolic symmetries. Most are told through the eyes of children and gendered subjects: subaltern figures coming of age in these troubled times. Forming a constellation of narratives across archipelagic space—from the Visayan islands of Marinduque to Central Panay and to the cities of Baguio and —these collectively indicate how the socio-political malaise persists up to the arenas of the folkloric, autobiographic and microscopic.

These stories are quiet acts of bearing witness, indictments taking shape. When the war against drugs and rights abuses—a theme of many films outside the list—reaches monstrously normalized dimensions, is it no wonder that these are referenced even in mythology? When the discourse of state power regularly employs misogynistic, feudal and paternalistic tropes while reinforcing economic and migrant conditions separating families, is it any surprise to encounter narratives premised on loss, orphanhood, embodied masculinity, and feminized alienation? When clear visions of emancipation or even respites from the crisis elude the social horizon, is it any wonder to witness the inward turn: towards self and finding one’s place, voice or home in a precarious world?

This year’s selection underscores how the possibilities of socially-directed investigation can and should be expanded through the practice of criticism. The challenge is to persist amidst precarious conditions of production, articulate these anxieties, and surface the possibility of countering attacks across such constellated, mediated fronts.

5 Isang Pelikula

ngChristian Pulo Jil R. Benitez

Baconaua Winner, Best Film (Joseph Israel Laban) Nominee, Best Screenplay (Joseph Israel Laban and Denise O’Hara) Winner, Best Achievement in Cinematography and Visual Design (T.M. Malones [cinematography] and Marielle Hizon [production design]) Nominee, Best Achievement in Sound and Aural Orchestration (Monoxide Works, Bryan Dumaguina, J.R. Miano [sound], Jema Pamintuan [music]) Nominee, Best Performance (Elora Españo)

ng pulo ay sityo ng kaya malimit na isinasaalamat ang pagkakataon: sapagkat pulo sa pinilakang-tabing mula Ahabang ang pulo ang lupang sa posisyon ng labas papaloob sa naliligiran ng tubig, ito rin ang pulo, isang direksiyunalidad na kasaganahan ng kasampuan. Sa isa ring paghuhugpong sa mga ganang ito rin, ang pulo ay sityo makasaysayang pagtatagpo ng ng tunggalian: sapagkat masagana temperado at tropiko, moderno nga ang pulo, malimit itong nasa at tradisyunal, kung saan malimit hinagap ng pagpasok at binggit na ipinapalabas ang huli bilang ng pananakop ng tagalabas. Kung napapaamo, kung hindi man ganap

6 na nasusupil, ng una. Sa ganitong ng kanyang ama: matapos ang paraan malimit na isinasalaysay humigit-kumulang tatlong buwan ng pelikulang pulo ang pagiging ng paghihintay para sa pagbalik nito kolonya ng sityong ito. mula sa laot, napilitan ang panganay na pakahulugan ang hindi pagbalik Ngunit sapagkat ang pulo nga ay ng labi nito bilang ganap na ngang ang pulo, na hindi lamang lupang pagkawala nito, upang sa gayon ay naliligiran ng tubig na natutunang matustusan ng makukuha nilang mapaglalangan ng imperyo, kung ayuda ang pangangailangan nilang hindi maging ang kasaganahan din naulilang magkakapatid. ng kasampuan nito, nararapat lamang din na ang pelikulang pulo ay maging Kasabay sa materyal na palabas din sa kakayanan ng nasabing pangangailangang ito ng sityo sa pagtanggi sa labas. Sa ganitong magkakapatid ay ang maalamat, pagkakataon, naidiriin ng pulo ang sapagkat napangangatwiranan sarili nito—hindi sa karamihan ng sa kanilang pulo ang pagkawala mga ito alinsunod sa kartograpikong ng mga mangingisda sa laot palagay ng arkipelago, kundi sa bilang kagagawan ng bakunawa, pagiging pulo nga ng pulo: kapuluan. ang dambuhalang malaahas na sinasabing kumakain ng buwan Ipinapalabas ng Baconaua ang at araw, na nagdudulot ng lahò. kapuluan ng Marinduque alinsunod Pagpapasidhi sa maalamat na sa pagkakataon ng alamat at katwirang ito nang isang umaga, kasaysayan. Kritikal na simula nito nataunan ng magkakapatid ang ang pasya ni Divina (Elora Españo) na pagpula ng dagat: lumulutang- ideklara na sa wakas ang pagpanaw lutang ang ilampung ilampung

7 mga mansanas, na hindi mawari ang mga ito sa pagdaraos ng kung saan nagmula. Gayunpaman, pamamaalam sa kanilang pumanaw nakatitiyak ang maalamat na na ama, agad silang namulot ng mga katwiran ng pulo: ano pa nga ba tubig-alat na mansanas. ang mga mansanas kung hindi isang pangitain. Sa ganitong pagpapaalala sa pagiging makamundo rin ng pulo Matalino ang Baconaua sapagkat lumalalim ang pelikula, sapagkat tumatanggi ito mula sa pagkahulog idiniriin nito ang sari-sariling sa peligro ng mistipikasyon ng buhay ng mga taga-pulo, alinsabay sityo ng pulo. Sapagkat bagaman sa mga pangyayaring panlabas at mahiwaga ang unang maaaring pangkolektibo. Nasa pagitan ng lahat pag-unawa sa kasaganahan ng ang tatlong naulilang magkakapatid, mansanas sa dalampasigan, na sapagkat sumasapit nang lahat agaran ding iginigiya ang pelikula sa paglalabintaon ay nagsasapulo sa tiyak na kasaysayan: ang mga bilang mga kani-kanilang tao, lumulutang na mansanas ay hindi nakararanas ng kanya-kanyang lamang mansanas, kung hindi ang tunggalian at pagkakataon: si kontemporanyong mansanas, taglay Divina, na biglang kinailangang ang tandang tatak bilang produkto— maging magulang para sa mga at kung gayon, hindi lamang basta naulilang kapatid; si Dian (Therese likas o maalamat, kung hindi Malvar), na nagsisimulang makamundo rin, sapagkat matalik makilala ang kanyang sariling sa makinaryang kapital. Hindi kung katawan, sa kanyang pakikitipan gayon nakapagtataka na ang unang sa dating kasintahan ng kanyang isip ng magkakapatid, sa pagkakita ate; at si Dino (JM Salvado), na ng mga ito, ay sa praktikalidad: sa kanyang pagtanggi sa naging sapagkat maaari nilang maihanda pagtanggap na lamang ng kanyang

8 mga nakatatandang kapatid na produktong mansanas, kung hindi pumanaw na nga ang kanilang ama mga mansanas na pinagsisidlan ay pinipiling maglagalag na lamang ng narkotiko. Ang kababalaghan maghapon sa pulo. kung gayon ng pulang dagat ay napasisidhi, sapagkat hindi na Bagaman mistulang kani-kanilang lamang ito naipalalabas alinsunod pulo ang mga salaysay na ito, sa salaysay ng maalamat na pag- isinasaalamat ang mga ito ng unawa, kung hindi maging ng pelikula, sa paglalapat ng lahat sa makasaysayang katwiran—na maaari iisang banghay. Sa paglalagalag ni lamang maging isang metonimiya Dino sa dalampasigan, natagpuan para sa kontemporanyong kapuluang niya ang isang sugatang banyaga; Pilipinas. kasabay nito, sa ibang bahagi ng pulo, pinaghahanap ng mga Sapagkat kung paaanong inuunawa patrolyang militar ang isang ng pulo ng pelikula ang pagkaanod tagalabas na hinihilang nagmula sa ng mga mansanas sa dalampasigan isang tumaob na barko. At bagaman nito bilang pangitain, sa ganitong nagtagpo ang bata at ang pangkat na paraan din maaaring madalumat patrolya sa pusod na kagubatan ng ang kritikalidad ng Baconaua bilang pulo, nagawang maitago ng una ang kontemporanyong pelikula: isang kinaibigang tagalabas sa kamalig, pagpapakitang pagsusuri din sa pinakain ito at sinubukang bigyang- kasalukuyang suliranin ng imperyal lunas. na pamumuno.

Ang pagkaparoon ng tagalabas na Ngunit sapagkat matalisik sa tumutunggali sa kalooban ng pulo nasabing pagsusuri ang pelikula, ang nagsasakasaysayan sa maalamat: tumatanggi ito sa pagsasapayak sa sapagkat ang mga lumulutang metonimiya ng pulo ng pelikula at na mansanas ay hindi lamang daigdig ng manonood: hindi lamang

9 nito nilalalang ang maalamat na maaaring magtulak sa palaisipan bakunawa sa pelikula bilang sisidlan palabas ng pulo ng Baconaua ng kaisipang pangkasaysayan para tungong kontemporanyong mundo sa palabas para sa tagalabas na sa kung paano ito nakikilala sa manonood. Sapagkat sa huli, idiniriin kasalukuyan: ano nga ba ang mga ng pelikula ang pagiging hindi nangyayaring ito (at nangyayaring matitiyak ng tunggalian sa pagitan ng ito sa atin), at bakit? Sa isang alamat at ng kasaysayan: bagaman kritikal na sandali, nagiging matalik isinalin ng pelikula ang maalamat ang pulo ng palabas at ang pulo na palaisipan bilang makasaysayang ng pinalalabasang sinehan, na suliranin ng kontemporanyo, makapagdadalumat kung bakit bumabaling pa rin ang palabas asul ang kulay ng mabagal na sa maalamat na pag-unawa: sa pinilakang-tabing: sapagkat nasa kabila ng paniniwalang magiging iisang pulo lamang pala ang tugon na sana sa mga suliraning pinanonood at ang manonood, materyal nilang magkakapatid at sa kapuluang ito, kapwa sila ang mga naipon niya mula sa mga naliligiran ng tubig, kung hindi pa mansanas, isinauli ang lahat ng mga man sumisisid na sa pinakapusod ito ni Divina sa karagatan, bilang ng karagatang maalamat at pagpapaumanhin na rin sa hiwaga makasaysayan. Sapagkat sa nitong maaari, o maaaring hindi, sampulong gana nito, ang Baconaua na may kinalaman sa kinahinatnan ay isang pelikula ng pulo, na nilang magkakapatid. hindi lamang sityo ng tunggalian, kung hindi sa kapuluan pa’y ng Ang hindi katiyakang ito, sa pagkakataon. sampulong bisa ng pelikula, ang

10 Of Technologies, Transcriptions and Ties That

BindLisa Ito-Tapang

The Chanters Nominee, Best Film (James Robin Mayo) Winner, Best Screenplay (John Paul Bedia and Andrian Legaspi) Nominee, Best Achievement in Cinematography and Visual Design (Jav Velasco [cinematography] and Carmela Danao [production design]) Nominee, Best Achievement in Sound and Aural Orchestration (Immanuel Verona [sound] and Erwin Fajardo [music]) Nominee, Best Performance (Jally Nae Gilbaliga) Winner, Best First Feature (James Robin Mayo)

ulture, tradition and The film is set in the quiet technology are framed as hinterlands of Central Panay in the intertwined facets in The Visayas: in humble parts where the ChantersC (2017), James Robin Mayo’s rumble of the motorcycle resonates directorial debut during last year’s far across the fields and where QCinema International Film Festival. communal gatherings to catch up

11 on soap operas are still a neighborly introduced as a novel narrative pastime. Employing the Hiligaynon tool: wielded by Sarah Mae as language, its narrative revolves she traverses dirt roads dreaming around the daily routines of the of finally meeting Danica in millenial Sarah Mae Navarro (Jally person. The lone and occasionally Nae Gilbaliga) and her grandfather, dysfunctional television is an object Lolo Ramon Navarro (Romulo around which the community Caballero), a farmer and chanter congregates, underscoring not only of the Panay Bukidnon Sugidanon the distance between the viewing epic poem who grapples with the periphery and capital-centric frailties of old age and dementia. celebrity but also more familial Despite their differences, both find ties operating within the far-flung themselves rushing against time as town. The cellphone enables both the awaited school visit of celebrity connection and disengagement. Danica Reyes draws near. It presents a distraction from her grandfather’s chant lessons but On the surface, Sarah Mae and shortens the distances separating Lolo Ramon are a humorous them from others: the staff of the study in contrasts. The gentle and local cultural office and her own gracious grandfather is the only mother, employed as an overseas surviving chanter of his tribe. Each foreign worker. Between the two, day, he painstakingly transcribes Sarah Mae is the digital native at lines of the ephemeral epic from home with the use of gadgets; Lolo memory, as its living repository, Ramon wrestles with pen and paper while maintaining a local school. In to get things done. contrast, his sassy and smartphone- savvy granddaughter is one The characters of Sarah Mae among thousands of enamored and Lolo Ramon inhabit poles “Danicanatics”. While she has been that can veer perilously close to introduced to traditional music and dance of the Panay-Bukidnon, Sarah Mae seems more attuned to the filmic appearances and lyrics of her idol’s latest pop song, titled “Kiss Me <3 <3.”

The inter-generational and intra- cultural divide they embody is made tangible across the story by conspicuous technologies of mass communication. The selfie stick is

12 shot using an aspect ratio of 1:1 and consciously employs this square frame in this cinematic inquiry into traditional culture. The format and color grading strongly evokes the filtered viewing experience of Instagram and other photo- sharing sites: global platforms of dissemination for millions of photos and short videos.

Visually, these formats yield interesting effects when translated simplification or caricature. The into a feature-length work. The film, however, steers itself away compositional centrality and from this dangerous precipice symmetry afforded by the square, by demonstrating a nuanced for instance, is particularly effective sensitivity towards its combination for producing endearing portraits of technological significations, of Sarah Mae and Lolo Ramon as narrative dialogue and visual well as conveying the sense and language. structure of place: from aerial views of the rural interiors to carefully- Technology, for instance, composed scenes in homes and prominently mediates and translates schools. Semiotically, the frame can the web of personal and social also be read as an appropriation relationships in The Chanters. As of the spatiality implied by mobile commodities and objects introduced technologies: also referencing in the cinematic narrative, these how their presence can possibly channels of communication are bridge—instead of widening—the signifiers of broader conditions gap between traditional and popular of precarity. These include the culture. translation of cultural tradition into contemporary experience amidst The flux of transcription and the influx of foreign influences or transformation are encoded in the economic and affective interface many picturesque moments across between cultural, rural and, to some the film. But beneath the idyllic extent, migrant labor. scenery and light-hearted banter are disturbing signs: kitchen fires, But technology is also employed a spell of blankness, a sudden to enrich the signification of the disappearance at dusk. This urgency filmic experience. The Chanters is of loss and preciousness of memory

13 is poignantly distilled in one scene, and defend non-formal schools and where Sarah Mae chances upon Lolo centers of living traditions, which Ramon inside the school, patiently mostly operate in communities of scribbling forgotten lines on the the country’s indigenous peoples blackboard. Positioned at opposite and national minorities. corners of the empty room, like bookends, are two turns and faces of The film demonstrates the tradition: one inscribes as the other possibilities of regional cinema erases. as an expansion and exposition of indigenous knowledge and Gilbaliga and Caballero both shine how it navigates conditions of the in their respective portrayals of contemporary. In such dark times change and its contradictions in of loss, The Chanters is a work well this comedy-drama, demonstrating worth treasuring for its intimate how The Chanters is anything but reclaiming of hope. simplistic or one-sided in its take on tradition and contemporaneity. In his completion of the epic’s documentation, Lolo Ramon reflects on the transience of both epic poetry and pop song, learning to trust the generation ahead. In her transition from volunteer back-up dancer to organizer of an indigenous chant presentation, Sarah Mae’s yearning to belong to the new gives way to a revisiting and holding dear of her roots.

The ties that bind the two go beyond the film itself. The project of propagating the region’s intangible cultural heritage which began some decades ago with scholarly documentation continues to date, and in many forms. For instance, more artists in Panay are initiating projects aiming to popularize the Sugidanon through art exhibitions and public performances. On a larger scale are initiatives to enact

14 Micro-burgers, magic pens, and familial breakdownsEmerald Flaviano

Nervous Translation Winner, Best Achievement in Editing (Shireen Seno and John Torres) Nominee, Best Achievement in Cinematography and Visual Design (Albert Banzon, Jippy Pascua, Dennise Victoria [cinematography], Leeroy New [production design]) Winner, Best Achievement in Sound and Aural Orchestration (Itos Ledesma [music], Mikko Quizon (sound design) Nominee, Best Performance (Jana Agoncillo)

or the first few minutes door, the girl wipes the bottoms of into Shireen Seno’s Nervous her shoes with a box of tissues; the FTranslation (2017), a young girl girl does a Mad Minute of rapid-fire moves through a still house, alone. multiplication problems; the girl A string of actions, each strange catches the crackle of static left over in itself, constitutes a ritual: at the the screen of a switched off CRT

15 TV. The climax of this after-school One day, Tito Ton (), Yael’s ritual however, centers on the father’s identical twin, comes to visit innocuous radio cassette recorder and disturbs the relative calm of the (“component”) stationed at the household. Troubled but unable to living room. This device concretizes understand why, Yael pins her hopes Yael’s—the young girl (Jana on the magical Ningen Pen, but a Agoncillo)—attempts to understand flood brought on by Typhoon Unsang the world around her. postpones her plan to obtain the costly Pen. Nervous Translation positions itself in Yael’s perspective, in an Nervous Translation is not quite original attempt to account for the a children’s film—shot from quiet destruction the unwilling the perspective of a child, its but necessary absence of a family preoccupation with revealing a member leaves behind. Yael lives with difficult home situation is transparent her mother Val (Angge Santos), while enough. Yael navigates a world that is her father Dodong works in Riyadh mostly populated by adults—Wappy, to support the family. She spends her a classmate, is only as material as a afternoons alone, watching cartoons voice heard over the phone, while on TV, doing homework, cooking tiny her unfamiliar cousins hardly talk meals with her toy kitchen. But Yael, to her. She picks up things not a smart and peculiarly perceptive necessarily because she understands child, is drawn to the component the significance of each word, each and the tapes her father sends her act, each look exchanged. Instead, mother. She’s not supposed to listen Yael seems to do it on instinct, to them, but the tapes provide access attuned as she is to subtle shifts of to a father she has no memory of and feeling, as one who has had to deal to an emotionally distant mother. with a mother such as she has.

Yael listens to her father addressing her mother.

16 A soap opera Yael and Val watches together every night.

The unhappy Val is a looming and Val religiously watch together figure in Yael’s life, the adult Yael a soap opera, a family drama that has always immediately looked to. resembles their own. Yael’s attempt Yael’s impulsive dependence on to make sense of—to translate—Val writing (to fill the still and empty takes on new urgency when Yael house, to try to give form to as yet catches her mother recording her inchoate emotions), for instance, own alien response to her father’s is later revealed to be Val’s as well. strange reference to Val’s “luto ng It’s unclear whether any other Diyos” and when Tito Ton and his family member has helped her, but family visit. we are made to understand that Val has been raising her daughter Measured and unhurried, shots of alone. This has been very difficult, mundane background details of a not only because Val works while typical—albeit worn—middle-class taking care of Yael on her own, but home lulls us into the still, dozy also because she struggles with the afternoons only a child’s activity can physical separation from Dodong. animate, highlighting Yael’s atypical She has a curious relationship with solitude. A waterlogged ceiling, an Yael, one that is conspicuously ancient air conditioning unit belie mediated. The tapes provide a map the financial challenges the family is of Val—the 30-minute no-contact facing, supported later by Val’s quiet rule between Yael and her was retort to her rather overbearing suggested by Dodong via one of sister-in-law Bette: “Marami kasing his tape. Yael also knows that the nahihirapang maghanap ng tape that has always been in the trabaho dito.” From references on component—“Val Kong Mahal”—is TV news, yellowing newspapers, key to understanding the shape of and peeling campaign posters, her mother’s unspoken longing, Nervous Translation temporalizes itself a presence in the house. Yael the narrative in the immediate

17 post-Marcos transition, implicating costume apologizes repeatedly to the dictatorship in the process. An his employers, in a performance of indictment is clearly there. We see Val’s pen scratching sorry’s on a blue in micro a country reeling from notebook over and over again, Val is the long-term economic impacts thrown into the Marikina River by of the large-scale and systematic Yael to emerge by the riverbank as misuse and thievery of public funds the soap opera heroine. A jaunty tune of the Marcos government—what that brings to mind sci-fi kids’ shows had originally been a stopgap increasingly asserts itself, interrupting measure (labor exportation) radio and TV sounds—a weird mix eventually became, by necessity, of news of celebrating people in the institutionalized as the inevitable streets and in Malacañang Palace, crutch to hold up an economy that heavy rain in Batanes, and White has been in perpetual failure. Lady sightings—and the soft aural rhythms of the house. In the face of this bleak reality, Nervous Translation circles back, An autobiographical motive can be dreamlike. A bizarre advertisement read behind Nervous Translation— for the Ningen Pen (literally “human how else can one know with such pen”) triggers a sequence of surreal intimacy the workings of a lonely scenes that reference earlier child’s mind? Who else can insist “real” ones: a man in Ningen Pen on the urgency of these attempts at comprehension other than one who understands how moments, barely grasped, endure as jagged memories, to gather significance in the end? Yael and Val and Dodong’s story could have been written otherwise, as countless other OFW families’ are, on TV dramas that promise fidelity to “the true story”. It is all the more better that Seno does not, and instead offers a fresh eye—a child’s—to look at a family made dysfunctional by the absent OFW father, skillfully rendering this perspective with earnest originality.

18 LuxurianceJ Pilapil Jacobo

Mga Gabing Kasinghaba ng Hair Ko Nominee, Best Film (Gerardo Calagui) Nominee, Best Screenplay (Mark Duane Angos) Nominee, Best Achievement in Editing (Bradley Liew) Winner, Best Performance (Anthony Falcon) Nominee, Best Performance (Mon Confiado) Nominee, Best Performance (Matt Daclan, Anthony Falcon, Rocky Salumbides [lead cast ensemble])

he predicament of depicting transgender as the difference within the lives of Filipina transgender difference, or even against it. women has been addressed in T Mga Gabing contemporary Philippine cinema. Gerardo Calaqui’s Films like Isabel Sandoval’s Señorita Kasinghaba ng Hair Ko (Those (2011), Adolf Alix’s Porno (2013), Long Haired Nights) (2017) does Eduardo Roy, Jr.’s Quick Change not exactly pursue the gains that (2014), and even ’s Die have been earned by our current Beautiful (2016), have all dealt with transgender filmography. There is trans as a mode of becoming where nothing productive in repeating the the political could be accessed as tragedy of transgender employment a rubric of resistance precisely in the flesh trade, and restating the because there remains the trouble of concomitant involvement of the

19 trans figure in the traffic of drugs allows trans to articulate the terms within an erotics of the neoliberal of its difficult passage. The long night scheme. that stages the seeming disparity of trans lives becomes the duration in As well, the queerness of cisgender which the solidarity of transgender men portraying trans sufferance can difference can be intimately only point out certain entitlements realized. Perhaps, one can intuit in an industry where gender is trans time in such a premise. a topic but whose performative significance is never engaged The form of the vignette must through conditions of performance. endure violence, as it plays the Acting is merely understood as wound out; and the life of pain that vehicular; one performs to craft a is told within that episode can only persona, and invent one’s signature be, if it can be precise, the moment of actressing. of its own restitution. This kind of transit is somehow singularly Notwithstanding its inability to be embodied by Anthony Falcon, conscious of the discourse that is whose beauty does not pretend it preventing its form to speak through can resist its own dynamism, after the habits of transgender spectacle, all manner of breakdown. We revel Mga Gabi’s narrative somehow in their irresistibility.

20 MakingJaime Oscar M. Salazar a Man

Kiko Boksingero Winner, Best First Feature Nominee, Best Achievement in Cinematography and Visual Design, (Marvin Reyes [cinematography], Ericson Navarro [production design]) Nominee, Best Performance (Yayo Aguila and Noel Comia, Jr. [duo]) Nominee, Best Performance (Noel Comia, Jr.)

ollowing the recent passing his home in Baguio City to reside in away of his mother, Francis a foreign country among relatives F“Kiko” Arenas (Noel Comia, with whom he is barely acquainted, Jr.) lives in the care of Diday (Yayo Kiko finds an outlet in boxing: Aguila), his yaya, while Myrna, his unbeknownst to Diday, after classes aunt, is seeing to arrangements for let out for the day, he departs for the him to come over to the United States house seemingly abandoned by his and under her supervision—a task estranged father, George (Yul Servo), to which Myrna applies herself not in order to practice his punches on entirely with avidity, citing financial well-worn equipment that he seeks to difficulties. Grappling with the pain of keep in good condition. When George orphanhood and the dread of leaving makes an unexpected appearance

21 during one of Kiko’s training sessions The film embarks on an exploration in the course of putting his house of masculinity mainly in and through up for sale, Kiko, hungry for familial the character of George, upon whom connection, seeks to slip himself out Kiko models his future self because of Diday’s apron strings and into of George’s purported aptitude at George’s affections. pugilism. George’s proximity to Manny Pacquiao—George is supposed Kiko Boksingero (2017), directed to have traded occasional blows in by Thop Nazareno, concerns itself the squared circle with the Kibawe- with charting how Kiko, at eleven born fighter, who rose out of poverty years old, negotiates the arduous to carve out a highly decorated and transition away from childhood and lucrative career in boxing—is crucial toward adulthood, primarily in ways to the allure that he acquires in the that play out on the plane of the eyes of his son. The fact that George quotidian: sleeping, dressing, eating, ultimately proves a disappointment cooking, shoelace-tying, and walking might therefore be read as an to and from school, among others, incipient critique of the vision of are routine non-events that take on masculinity that Pacquiao, who symbolic freight as milestones. The has parlayed his status as celebrity close attention that the film pays slugger into various fields, notably to them—at least as much as, if not politics, represents: on the one hand, more than, for instance, the unique wealthy, athletically accomplished, event of Kiko’s circumcision—helps to reportedly fun-loving and generous,1 underscore how growing up involves as well as cisgender and heterosexual; slow, incremental changes of habits and on the other, acquisitive of and relations rather than sudden power, derelict in duty, and ignorant transformations. While possessed of of history, not to mention bigoted, a staunch, almost studied, modesty misogynistic, homophobic, and of scale, ambition, and emotion, transphobic. This is a vision neither Boksingero achieves resonance in its merely idiosyncratic to Pacquiao nor broaching of the question of what it wholly of his own making, of course— means to be and become a man. rather, it is nurtured and sustained in

22 the intricate interplay between lives, project to subjugate the Philippines, institutions, and social forces. which boxing, introduced alongside baseball to Filipinos by American The scenes involving Diday are also soldiers at around the close of the instructive, in that they trouble the 19th century, is caught up with.2 masculine ideal of self-sufficiency: The scholar Gerald R. Gems has after all, it is upon her largely noted that sports—disseminated unacknowledged physical and through the school system, and by emotional labor—her labor as a organizations like the Young Men’s domestic worker, a point that the film Christian Association, the Philippine appears, for the most part, to take Amateur Athletic Federation, and the for granted—that Kiko and George Far Eastern Athletic Association— depend in order for them to carry were used by the Americans to out seemingly autonomous decisions. inculcate civilizing values and Kiko prefers to eat hotdogs instead of channel Filipinos’ nationalism into vegetables, and train with his father athletic rivalries.3 Boxing, which rather than going about his usual came with “opportunities for weekend activities, but it falls to Diday retaliation” and, compared to other to do the cooking and the prodding sports, greater largesse for winning, awake. For his part, George wants to be became widely popular, leading able to come and go at will, unsaddled to the emergence of renowned by the responsibility of childcare, fighters, such as the flyweight leaving it to Diday to look after Kiko Francisco Guilledo, better known whenever it becomes tiresome or as Pancho Villa, whose feats in the inconvenient for George to do himself. ring challenged “notions of white privilege and prowess” and defied That Boksingero is set in the former prevailing racial attitudes, which American colonial hill station of Gems says emasculated Filipinos.4 Baguio—even if rendered in a Such fraught history should factor picturesque manner, effacing the into further efforts to draw out many ills of overdevelopment and account for the production, with which the city has long embodiment, and performance of been plagued—serves as a useful specifically Filipino masculinities. reminder of the American imperialist

1 Gary Andrew Poole, PacMan: Behind the Scenes with Manny Pacquiao, the Greatest Pound-for-pound Fighter in the World (Boston: Da Capo Press, 2010), p. 65. 2 Gerald R. Gems, “Sport and Colonialism in the Philippines,” The Athletic Crusade: Sport and American Cultural Imperialism (Lincoln and London: University of Nebraska Press, 2006), p. 48. 3 Op. cit., p. 49. 4 Op. cit., pp. 50, 61-2.

23 Deep end of theNonoy L. Lauzon ocean

Medusae Nominee, Best Film (Pamela Miras) Nominee, Best Screenplay (Pamela Miras) Nominee, Best Achievement in Editing (Lawrence Ang) Nominee, Best Achievement in Cinematography and Visual Design (Albert Banzon [cinematography], Aped Santos [production design], Vladimer Castañeto [visual effects]) Nominee, Best Performance (Desiree Del Valle) Nominee, Best Performance (Carl Palaganas)

hat does it take to be persist to be more than mere rural- a good mother? What legend stuff. does it take to be a good W Medusae filmmaker? Pam Miras’ The son is an albino with a name processes an interrogation of such that embarrasses him as it refers circumstantial essentials with the to the place where his parents first emotionally wrenching tale of a met each other. He also happens to single mom who loses her son in an sleepwalk, has a recurrent enigmatic island she is filming for its cases of dream and professes to have disappearances of firstborns that never wanted to be born. The lady

24 filmmaker may not have wanted There is value in this parable of the the pregnancy either but otherwise sea as it recasts ways of discerning decided just the same to keep the human action, frailty and limits baby who would grow up to be against the vastness of a universe a problem child she nonetheless never to be fully knowable. Myths deeply loves and cares so much must exist, cults must emerge and for. The island is peopled by folks rites and rituals must be practiced who may or may not be resigned to and performed in order for the their shared fate of their respective communities of the living to survive eldest of the brood taken away and satisfy the wants that bind from their families. The medusae humans. of the film’s title may be construed in the symbolic invocation of It then becomes the duty of a good aquatic organisms and the nature mother to come to terms with the of their reproduction as such is flaws that define her relations ultimately tied up with the very with her child and it is time for statement at the crux of the film filmmakers to come to the epiphany on laws of conservation and the that it is not always for noble and indestructibility of living matters lofty goals that they peer into private and all life forms. lives to make their films.

25 TapatanAristotle J. Atienza

God Bliss Our Home Nominee, Best Achievement in Editing (Lawrence Ang)

ay halina ang katapatan sa manonood hindi ang inaakalang ng dokumentaryong God kaalwalan ng buhay, na karaniwan MBliss Our Home ni Nawruz nang kalat na kalat nang palabas na Paguidopon. Maaaring inaasahan gawa ng mga ganitong kagamitan, kung suliraning madalas na kundi pa ang kabiguan mula sa hinaharap ng anyo ang pagiging mga ipinakikita’t ipinaririnig sa makatotohanan (kaya nga ba’t pelikula, bagay na makikitang madulas at mailap itong realidad), kalimitan namang inilalarawan sa pero hindi laging inaasahan ordinaryong dokumentaryo. Narito ang katipiran kung paano nito sa pagkahumaling sa katapatan ibinabahagi at ipinamamahagi ng katipiran at kawalan ang ang karanasan ng buhay, lalo pa’t pakikipagbunong haharapin sa God sariling talambuhay ang nakikitang Bliss Our Home. isinasalaysay. Maaasahan ang mga naririyan nang makabagong Tulad ng nasimulan na sa kaniyang teknolohiya ng pang-araw-araw naunang pelikulang A Journey to na lumihis sa nakasanayang Haifa (2014), na kabilang sa mga pamamaraan upang maipamalas dokumentaryong ipinalabas sa

26 Cine Totoo: Philippine International pinapasukan ng personal na Documentary Film Festival ng GMA buhay ang nagagawa ng kaniyang News TV, maglalakbay muli ang pagkamalay, ang takdaan ang mga dokumentarista. Kukunan niya ang nilikhang aksidente ng bigat ng sariling bitbit ang mga maaasahang katotohanang tunay na nangyari kamerang GoPro, DLSR, handycam ang nasaksihan dahil naroon siya. (kasama na ang selfie stick). Gaya Pero mapagkunwari pa rin maging ng praktis ng pagmamatyag sa ang paggabay ng pumapaimbabaw mga instrumento ng pagkuha, na maramdaming tinig ng masasaksihan sa pribadong buhay kasalukuyan na inilalangkap ng lumikha ang pagnanasang sa hinaing at hinanakit na sagutan ang suliraning tagapagtakda nararanasan dahil nakaraan na ng kaisahan ng dokumentaryo – ang ang inilalantad. Hahanapin mo paghahanap niya ng kaginhawahan ang balintuna pero upang makuha sa buhay. Sa ganitong paraan mo lamang ang suspetsa. Sa nagiging totoo ang pelikula lalo huli, sa kabila ng pagtatangkang na’t inilulugar ang kalidad ng maging malay, matutuklasan pa mga kuha (ang kakayahan ng rin sa dokumentaryo ang lakas ng liit at gaan ng kamera) sa mga pananalig sa katapatan ng kamera, pamilyar na kuwadro ng mga pang- sa paghahari nitong hindi nababali araw-araw sa kasalukuyan. Ang ang sinasabi. katapatan ay nasa antas ng pagiging hayag ng mga pamamaraang Kung may naihihiwalay na kinakasangkapan pero hindi sariling buhay ang manlilikha nakaaabot upang magsilbing sa kinaugaliang dokumentaryo gabay mismo para maunawaan dahil abalang kumukuha sa buhay ang halaga ng pagmamalay sa nang may buhay, na karaniwang nililikhang katapatan. Ang dalhin kapuspalad, babad na babad ang manonood sa mga planadong naman ang pelikula sa buhay paghuli sa iba’t ibang sitwasyong ng dokumentarista sa kaniyang

27 pagsisikap na magkaroon ng kaniyang mga plano sa buhay kaya’t matiwasay na pamumuhay sa sa alok ng magulang ay mapapauwi Kamaynilaan. Labing-isang taon na lamang sa probinsyang nang naninirahan si Naw (Nawruz kinalakihan. Paguidopon) sa Bliss sa Lunsod Quezon mula nang pumasok at Dapat pansining bagama’t makapagtapos sa Unibersidad ng ikinukuwento ng dokumentaryo Pilipinas hanggang sa makahanap ang mga pangyayaring naganap ng trabaho rito. Aminadong hindi sa kaniyang buhay na hindi sapat ang sinusuweldo kaya’t maipagkakamaling gitnang-uri, upang mabawasan ang alalahanin tinangkang maiwasan na tawirin sa pinagkakagastusan, pinlanong ng pelikula, kahit paano, sa abot umupa ng isang buong yunit para ng mapagbibigyang kakayahan, naman mapangupahan sa iba, na maging pagsasalsal lamang ang bayad sa pangungupa ng iba ito ng sarili. Dahil gumagalaw sa ang magiging pambayad niya sa pakikipag-ugnayan sa iba pang tinitirhan. Pero hindi ito magiging nakapaligid sa kaniya, madadaanan madali dahil kakailanganin niya din ng kaniyang paglalakbay ang ng pera para maisakatuparan ang iba’t ibang pakikipagpagrelasyon minimithi, kaya’t ang paglalakbay sa makakasalamuhang kapitbahay, ay magiging pangangalap ng kaibigan, kapamilya, kapuso, at kahit mga pondo (fund-raising). Bukod maging kababayan. Mababahaginan sa kita at sa pakiusap sa ina na tayo ng mga pagsusumikap nina sumusuporta pa rin sa kaniya sa Anita at Criselda, mga katulong ni oras ng matinding pangangailangan, Naw sa paghahanap ng paupahan sinubukan niyang magbenta ng mga at pagkakakitaan. Makikisakay produktong pampaganda mula sa sa mga kaibigang tataya sa mas kompanyang paminsan-minsang katanggap-tanggap na pasugalan. pinagtatrabahuan, magsugal sa City Makikitira sa ina, ama, kapatid, of Dreams kasama ng kaniyang mga kapamilyang makakasundo at mga kaibigan, at magpaluwagan sa komunidad na kinabibilangan. Pero wala sa sariling palad ang kaniyang kapalaran, sasamantalahin ng isang malakas na bagyo ang

28 hindi makakasundo batay na rin mga pang-araw-araw, nagagawa sa mga desisyong piniling tahakin. ng dokumentaryong paglaruan Makakapiling ang mga lalaking ang katipiran ng hindi kayang makahahalubilo sa pagnanasang kunan o mahirap kunan (pero makahanap ng mapagsasaluhan nakukunan pa rin) at pagtanghalin ng mga pangarap sa buhay. Sa pag- ang mga pangarap ng kawalan at usad ng sari-saring pangyayaring kabiguang nararanasan din ng iba inilahad sa atin ng pelikula, sa kasalukuyan. Lalakbayin din niya mararamdamang patong-patong ang ang iba pang pinunong nangako ng mga kabiguan, pero hindi upang katiwasayan sa bansa sa kaniyang hindi ito madiskubre ng iba, ang panahon hanggang umabot sa Doc Spirit Award mula sa Docs Port pagtatapos, sa pagnanasang Incheon (2014) ng Timog Korea, na darating ang pagbabago sa isa pang magtatakdang karapat-dapat ngang pangako, mula naman ngayon maisalaysay itong pagdurusa, at sa paghahalal sa isang bagong hindi ang iba pa. pangulo kasabay ng pagpiling lisanin ang kinalakhang kapaligiran Habang naglalakbay kumakapal matapos ang bagong taon upang pang lalo ang mga tala ng buhay ipagpatuloy ang pakikipagsapalaran sa mga pangyayaring nararanasan at pakikipagtunggalian, kasama ng ng bansa na isinasangkot sa marami pang iba, sa kalunsurang paglalantad ng sarili. Binuksan niya pinipiling maging tahanan, dahil ang dokumentaryo sa pagpapakilala kahit paano ay nakapagpapalaya, sa Bliss bilang proyekto ng mga kahit hindi pa muna Marcos na nagtangkang harapin nakapagpapasaya sa kaniya. noon ang suliranin sa pabahay, na suliraning tinatapatan din naman Ang katapatan sa dokumentaryong niya sa kasalukuyan. Pero wala na God Bliss Our Home ay nasa lamang sa nalulumang gusali ang kaniyang pagtatapat. Inihaharap pag-iral ng mga Marcos dahil tila sa kamera ang mga kabiguang sinasabing minamana pa rin niya, nararamdaman sa buhay sa nila, natin ang krisis na dinadama paninindigang may kaginhawahang ngayon ng sarili at ng iba pa. Lalo kailangang ipaglaban para sa na’t sa masinop na pagtatahi ng hinaharap. Pero ang halina ay nasa mga likhang animation sa mga pagtinging katotohanan na ang sinadyang kuhang larawan ng katapatan.

29 SurfacingSkilty C. Labastilla

Si Chedeng at Si Apple Winner, Best First Feature

i Chedeng at si Apple, the first has suffered years of physical and feature of Rae Red and Fatrick emotional abuse by her live-in Tabada, is a rambunctious partner. In one of these episodes rompS that follows two ladies taking of abuse, she kills her lover in an a road trip of emancipation as they act of self-defense, and she and flee from the law, yes, but more Chedeng conspire to dispose of the from the shackles of patriarchy. body, except for the severed head, which Apple believes should be Chedeng (Gloria Diaz), a closet carried, according to Santa Muerte lesbian mother living unhappily tradition, to prevent the possibility in Manila, decides to go to Cebu of her wicked lover’s reincarnation. province to find the one that got What ensues is 80 minutes of almost away after her husband dies. She non-stop hilarity as the women leaves behind three grown sons, travel by boat, then by bus, to track and takes with her her simple- Lydia, Chedeng’s long-lost love in minded best friend Apple (Elizabeth rural Cebu, all the while carrying Oropesa), who also has a reason a human head in a Louis Vuitton to flee the capital. You see, Apple handbag.

30 If Tabada took inspiration from tenaciously, bravely feminist. It has the American road comedy Little the audacity to feature not just two Miss Sunshine in co-writing last women as the key protagonists, year’s hysterical Patay Na si Hesus, but two elderly women at that! he looked to an even more iconic Making one of the lead characters American film, Thelma and Louise, a lesbian searching for the love of for inspiration in coming up with her life is a conscious act of rejection Si Chedeng at si Apple. Both films of heteronormative romance so center on two female best friends commonly produced and consumed who are either abused by their male in these parts. Tabada is also wise partners or are generally unsatisfied to partner with a female filmmaker, with their lives, find themselves on Rae Red, in directing his story, as the run from authorities, hook up the film surely benefited from her with young studs along the way, and perspective. realize in the end that the few years they have left in the world are better When future cultural commentators spent pursuing their heart’s desires look back to today, they will note the rather than kowtowing to society’s rise of the #MeToo and #BabaeAko expectations of women. movements, and the Chedeng filmmakers should be proud of Si Chedeng at si Apple, however, is coming up with a film that, even if it far from being a Hollywood copycat pre-dates these cultural movements, as it transcends its source material perfectly captures the sentiments of with a distinct Pinoy, particularly the new generation regarding the Cebuano, humor. Buoyed by the evil of sexual abuse and harassment delicious performances of screen of women, as well as the beauty of veterans and respecting different sexualities and Gloria Diaz, the film is deeply, identities.

31 FILMOGRAFIA PHILIPPINE CINEMA 2017

January 4 January 18 Mang Kepweng Returns (GB Darkroom (Pedring Lopez), Viva Sampedro), Cineko Productions Films, Blackops Studios Asia, Psyops8 January 10-15 Ilawod (), Quantum CINEMA CLASSICS: FILIPINO FILMS Films, MJM Productions, Tuko IN RETROSPECT Films Productions, Buchi Boy Labs Kita . . . Okey Ka Lang (Jerry Entertainment Lopez Sineneng, 1998) (, 1982) January 25 Hindi Nahahati ang Langit (Mike De Across the Crescent Moon (Baby R. Leon, 1985) Nebrida), Gold Barn International Kung Mangarap Ka’t Magising (Mike Foolish Love (), Regal De Leon, 1977) Entertainment Kakabakaba Ka Ba? (, Paraisong Ligaw, Royal Bajandi 1980) Films (non-major release) Kasal? (, 1980) Dekada ’70 (Chito Roño, 2002) February 1 Patayin sa Sindak si Barbara (Chito Swipe (Ed Lejano), Aliud Roño, 1995) Entertainment, Ledge Films, Viva Sana Maulit Muli (, Films 1995) Sakaling Hindi Makarating (Ice Batang PX (, 1997) Idanan), Media East Productions ( and (commercial release) Lore Reyes, 1996) Diliryo, Doube R Cinema Venture Oro Plata Mata (Peque Gallaga, (non-major release) 1983) February 8 January 11 Moonlight Over Baler (), Extra Service (Chris Martinez), Star T-Rex Entertainment Cinema, Mano 7: Chinoy (Ian Loreños), Regal Karibal, Rodriguez Film Production Entertainment (re-release) (non-major release)

32 February 15 Karnal (Marilou Diaz-Abaya, 1983) I’m Drunk, I Love You (JP Habac), Oro Plata Mata (Peque Gallaga, Tuko Films Productions, Buchi 1983) Boy Entertainment Nagalit ang Buwan sa Haba ng Gabi My Ex and Why’s (Cathy Garcia- (Danny Zialcita, 1983) Molina), Labs Kita . . . Okey Ka Lang (Jerry Kasalanan, Fortune Arts Lopez Sineneng, 1998) International Films (non-major release) March 8 Pwera Usog (Jason Paul Laxamana), February 22 Dungaw, Double R Cinema Venture Halik na Mainit, Halik na Malamig, (non-major release) Rodriguez Film Production (non- major release) March 1 Gawin Nating Gabi ang Araw, Flying Talong Bibe (Joven Tan), Regis Films High Entertainment (non-major and Entertainment release) Baka Bukas (Samantha Lee), Star Cinema, CinemaOne Originals March 9-14 (commercial release) SINAG MAYNILA (Solar Entertainment, ) March 1-7 Beyond the Block (Ricardo Carranza) CINEMA CLASSICS: FILIPINO FILMS Bhoy Intsik (Joel Lamangan) IN RETROSPECT Kristo (HF Yambao) One More Chance (Cathy Garcia- Ladyfish (Jason Orfalas) Molina, 2009) Tu Pug Imatuy (The Right to Kill) Tatlong Taong Walang Diyos (Mario (Arnel Barbarona) O’Hara, 1976) Hihintayin Kita sa Langit (Carlos March 15 Siguion-Reyna, 1991) 2 Cool 2 Be 4gotten (Petersen (Olivia Lamasan, 1996) Vargas), Star Cinema, CinemaOne Minsan Minahal Kita (Olivia Originals (commercial release) Lamasan, 2000) (Olivia Lamasan, March 22 2002) Higanti (Rommel Ricafort), Gitana In My Life (Olivia Lamasan, 2009) Film Productions (Laurice Guillen, 2000) March 29 Anak (Rory Quintos, 2000) Northern Lights: A Journey to Love Ang Lalaki sa Buhay ni Selya (Dondon Santos), Star Cinema, (Carlitos Siguion Reyna, 1998) Regal Entertainment,

33 Across the Crescent Moon Kadikit, Fortune Arts International (Baby Nebrida), Golden Barn Films (non-major release) International Hiwaga: Ang Paglalakbay sa May 17 Liwanag ng Buhay (Sir Rca), M7 Dear Other Self (Veronica Velasco), Films Star Cinema Palusot, Digimar Film (non-major release) May 24 Ang Araw sa Likod Mo (Dominic April 11 Carlo Nuesa), An Earth Below The Sister (Joseph Israel Laban), One Productions Big Fight Productions (UP Film Barako, Double R Cinema Venture Institute screening) (non-major release)

April 15 June 14 Can’t Help Falling in Love (Mae Can We Still Be Friends (Prime Cruz), Cruz-Alviar), Star Cinema Star Cinema Macho: Ang Lihim ni Bayaw, Digimar Film (non-major release) June 28 Ang Pagsanib kay Leah De La Cruz April 19 (Katski Flores), Viva Films, Reality Kapares, Double R Cinema Venture Entertainment (non-major release) Pasingit, Rodriguez Film Production (non-major release) April 26 1st Sem (Dexter Hernandez), July 12 Team Campry Entertainment Bloody Crayons (Topel Lee), Star (commercial release) Cinema Ang Lalake sa Kabilang Pintuan, Palaban, Fortune Arts International Rodriguez Film Production (non- Films (non-major release) major release) July 12-18 May 3 TOFARM FILM FESTIVAL Luck at First Sight (Dan Villegas), Baklad (Topel Lee) Viva Films, N2 Productions High Tide (Tara Illenberger) Instalado (Jason Paul Laxamana) May 10 Kamunggay (Vic Acedillo) Bliss (), Artikulo Uno Sinandomeng (Ron Bryant) Productions What Home Feels Like (Joseph Our Mighty Yaya (Jose Javier Reyes), Abello) Regal Entertainment

34 July 19 Awol (Enzo Williams), Skylight (Sigrid Andrea Bernardo), Films, CineBro Spring Films Bar Boys (Kip Oebanda), SM Lifestyle Entertainment, TropicFrills Film July 26 Production Finally Found Someone (Theodore Birdshot (Mikhail Red), Tuko Film Boborol), Star Cinema, Viva Films Production, Buchi Boy Production, Check In, Digimar Film (non-major CJ Entertainment (commercial release) release) Hamog (Ralston Jover), CinemaOne August 2 Originals (commercial release) Dampi, Rodriguez Film Production Triptiko (Miguel Franco Michelena), (non-major release) Michelena Brothers Production, Barrio’s Pictures August 4-13 Ang Manananggal sa Unit 23B CINEMALAYA (Prime Cruz) (commercial release) Baconaua (Joseph Israel Laban) Paglipay (Zig Dulay) ToFarm, Bagahe (Zig Dulay) Universal Harvester (commercial Ang Guro Kong ‘Di Marunong release) Magbasa (Perry Escaño) Patay na si Hesus (Victor Kiko Boksingero (Thop Nazareno) Villanueva), QCinema, T-Rex Nabubulok (Sonny Calvento) Productions (commercial release) Ang Pamilyang Hindi Lumuluha Pauwi Na (Paolo Villaluna), ToFarm (Mes De Guzman) Universal Harvester (commercial Requited (Nerissa Picadizo) release) Respeto (Treb Monteras) Salvage (Sherad Anthony Sanchez), Sa Gabing Nananahimik ang mga CinemaOne Originals (commercial Kuliglig (Iar Lionel Arondaing) release) Pastor (Adolf Alix) Star na si Van Dame (Randolph Alipato (Khavn De La Cruz) Longjas), CineFilipino Maestra (Lem Lorca) (commercial release)

August 9 August 23 Double Barrel (Toto Natividad), Viva Woke Up Like This (Joel Ferrer), Films Regal Entertainment Maharot, Fortune Arts International August 16 Films (non-major release) PISTA NG PELIKULANG PILIPINO 100 Tula para kay Stella (Jason Paul Laxamana), Viva Films

35 August 24 September 21 4 Days (Adolfo Alix, Jr.), Sunflower History of the Underground (Sari Films (UP Film Institute screening) Dalena, Keith Sicat), Kino Arts (UP Film Institute screening) August 30 Love You to the Stars and Back September 23 (), Star Cinema Something about Love (MB Zarate), Mapagbigay, Double R Cinema Cine Kafagway (UP Film Institute Venture (non-major release) screening)

September 6 September 27 FanGirl / FanBoy (Barry Gonzalez), Last Night (), Star Viva Films, N2 Productions Cinema, ABS-CBN Ang Pamilyang Hindi Lumuluha You with Me (Rommel Ricafort), (Mes De Guzman), Star Cinema, Gitana Film Productions ABS-CBN Bodegero 2, Double R Cinema Venture (non-major release) September 13 DAD: Durugin ang Droga (Dinky October 4 Doo, Jr.), Yebahdabadoo The Debutantes (Prime Cruz), Regal Entertainment Entertainment Loving in Tandem (Giselle Andres), New Generation Heroes (Anthony Star Cinema; ABS-CBN Hernandez), Golden Tiger Films Lihim sa Eskinita, Digimar Film Dama Dapat Kang Mahalin, (non-major release) Rodriguez Film Production (non- major release) September 15 I Found My Heart in Santa Fe (Bona October 6 Fajardo), BluArt Productions Fallen not Forgotten (Sally Jo Bellosillo), Caelestis Productions September 20 Inc. (UP Film Institute screening) Amanlahig: The Vampire Chronicle (Francis Posadas), Viva Films October 11 Hot Property: Too Hot to Handle, Balatkayo (Neal Tan), BG Royal Bajandi Films (non-major Productions International release) Seven Sundays (Cathy Garcia- Respeto (Treb Monteras), Arkeo Molina), Star Cinema; ABS-CBN Films Sukdulan, Fortune Arts International Films (non-major release)

36 October 13 October 21 Riding in Tandem (Toto Natividad), Mga Gabing Kasinghaba ng Hair Ko CineBro (Gerardo Calagui)

October 17 October 25 Bomba (Ralston Jover), ATD The Barker (Dennis Padilla), Blank Entertainment, Heaven’s Best Pages Productions, Viva Films Entertainment Ligaw (Paolo Endrinal Tesico), Light Cinema October 18 ’s Bes and the Beshies (Joel November 1 Lamangan), Cineko Productions, The Ghost Bride (Chito Roño), Star Regal Entertainment Cinema, ABS-CBN 4 Days (Adolfo Alix, Jr.), Sunflower 2: The Haunted Films (Jose Javier Reyes), OctoArts Films, Si Tokhang at ang Tropang T-Rex Entertainment Buang (Roland Sanchez), KIB Productions, Red Post Production November 8 House #12 (Dondon Santos), Viva Films Best. Partee. Ever. (Howard This Time I’ll Be Sweeter (Joel Yambao), Epiphany Creatives, Lamangan), Regal Entertainment Eichef Media / HFilms, Keep Me Posted Inc. November 12 Guerrero (Carlo Ortega Cuevas), EBC October 19-28 Films QCINEMA Dapol Tan Payawar na Tayug 1931 NovemBer 13-28 (Christopher Gozum) CINEMAONE ORIGINALS Balangiga: Howling Wilderness Bundok Banahaw: Sacred and (Khavn De La Cruz) Profane (Dempster Samarista) The Chanters (James Robin Mayo) Changing Partners (Dan Villegas) Dormitoryo (Emerson Reyes) Nay (Kip Oebanda) Kulay Lila and Gabi na Binudburan Haunted: A Last Visit to the Red pa ng mga Bituin (Jobin House (Phyllis Grande) Ballesteros) Nervous Translation (Shireen Seno) Medusae (Pam Miras) Paki (Giancarlo Abrahan) Neomanila (Mikhail Red) Si Chedeng at si Apple (Rae Red and The Write Moment (Dominic Lim) Fatrick Tabada) Throwback Today (Joseph Teoxon) Historiographika Errata (Richard Somes)

37 November 15 December 8 Fallback (Jason Paul Laxamana), Maestra (Lemuel Lorca), Carl Balita Cineko Productions, Star Cinema Review Center

November 17 December 25 Patintero: Ang Alamat ni Meng FILM FESTIVAL Patalo (Mihk Vergara), Tuko Film (MMFF) Productions (Loy Arcenas), Culturtain Musicat Productions November 22 All of You (Dan Villegas), Quantum Trip Ubusan: The Lolas vs. Zombies Films, MJM Productions (Mark Reyes), APT Entertainment, Deadma Walking (Julius Alfonso), M-Zet Productions T-Rex Entertainment Gandarrapiddo: The Revenger Squad November 23 (Joyce Bernal), Star Cinema, Viva Motherland (Ramona Diaz), CineDiaz Films Meant to Beh (Tony Reyes), OctoArts November 29 Films, M-Zet Productions, APT Barbi, D’ Wonder Beki (Tony Reyes), Entertainment OctoArts Films, M-Zet Productions, Ang Panday (), CCM T-Rex Entertainment Productions, Star Cinema, Viva (Cathy Garcia- Films Molina), Star Cinema, ABS-CBN Haunted Forest (Ian Loreños), Regal Entertainment December 6 Siargao (), Ten17 Kamandag ng Droga (Carlo J. Productions Caparas), Viva Films Smaller and Smaller Circles (Raya Martin), Tuko Films, Buchi Boy Entertainment Ang Guro Kong Di Marunong Magbasa (Perry Escano), Cinemalaya and MPJ Entertainment Production God BLISS Our Home (Nawruz Paguidopon) Boda Media Group and Pananaw Studio (15th Mindanao Film Festival)

38 The Criteria Best Picture: refers to vision and and the structures and institutions they direction that pay sensitive and keen mediate through social practice. The Best attention to both the language of Cinematography and Visual Design honor cinema (“presentation”) and social is conferred on the cinematographer and reality (“representation”), in the process the production designer. refunctioning the possibilities of film as progressive art and popular culture. Best Editing: refers to the The Best Picture citation is awarded configuration of relationships of to the Director not so much because time and space among scenes in a he or she is the auteur or the central film that is able to synthesize, engage intelligence of the film, but because in collision, reconcile, or transgress his or her work lies at the conjuncture connections through the complex which coordinates filmmaking. interplay of mise-en-scene and montage. The Best Editing trophy is Best Screenplay: refers to the given to the editors. rhetoric of writing for film that articulates the complexity of social life Best Sound and Aural and personal perturbation through Orchestration: refers to the narrative logic or political conviction; rendering of the auditory aspects of or simply through well-thought film music, natural sound, sound effects out dramatic tension that explores as these are counterposed against contestation between the personal and or harmonized with the language of the political, the individual and the image, and so become meaningful collective, the private and the public. sign systems on their own. The Best The Best Screenplay award is given to Sound citation is awarded to the sound all the writers of the film. engineer and the musical scorer.

Best Cinematography and Visual Best Performance: refers to acting, Design: refers to the mise-en-scene and to the playing out of a role or character its visual/plastic qualities production that implicates emotion, feeling, and design, lighting, art direction, visual experience in the social conditions effects that lend form to whatever of the personal and in the political representation is projected on screen; economies of habit and gesture and and absorb the differences of social forces how these forge the body politic. The and cultures in instances of contradiction, Best Performance citation is handed to confluence, contact, resistance, or the Performer, whether male or female, affililation with one another, as well as adult or child, in major or supporting imbibe the relationship between people role, individual or ensemble.

39 Mga Batayan Pinakamahusay na Pelikula: Pinakamahusay sa tumutukoy sa pagdidirihe at Sinematograpiya at Disenyong bisyon na nagbibigay ng sensitibo Biswal: tumutukoy sa mise-en- at matalas na atensiyon kapwa scene at sa mga kalidad nitong sa lengguwahe ng pelikula biswal/plastik disenyong (presentasyon) at panlipunang pamproduksiyon, pag-iilaw, realidad (representasyon), sa proseso direksiyon ng sining, visual effects inaayos at pinakikilos ang modo na nagbibigay-anyo sa anumang ng pagpapahayag ng pelikula sa representasyon na inilalantad realidad sa konteksto ng kakayahan sa telon; at ikinikintal ang nitong makipag-usap sa malawak na pagsasaanyo ng mga puwersang manonood at pukawin ang buhay panlipunan at mga kultura sa ng publiko; sa gayon, naaangkin ito mga sandali ng kontradiksiyon, para isulong ang kapangyarihan ng pagsasanib, enkwentro, pagtatagpo, midyum at ang sulong na interes. pakikipagtunggali o pagkakaugnay Ang gawad para sa Pinakamahusay sa bawat isa. Ipinagkakaloob ang na Pelikula ay ibinibigay sa Direktor Pinakamahusay na Sinematograpiya hindi dahil sa siya ang auteur o ang at Disenyong Biswal sa sentral na diwa ng pelikula, kundi sinematograper at sa taga-disenyo dahil ang obra niya ay nakalugar ng produksiyon. sa hugpungang nagbibigay koordinasyon sa paglikha ng pelikula. Pinakamahusay na Editing: tumutukoy sa kompigurasyon Pinakamahusay na Dulang ng mga ugnayan ng panahon at Pampelikula: tumutukoy sa retorika espasyo sa mga eksena sa isang ng pagsusulat para sa pelikula na pelikulang may kakayahang nagpapahayag ng kasalimuotan ng maglagom, makitunggali, bumuo buhay panlipunan at personal na at bumaklas ng mga pagkakaugnay ligalig sa natatanging estruktura ng sa pamamagitan ng masalimuot naratibo o politikal na paniniwala; na paggamit ng mise-en-scene o sa pamamagitan ng pinag-isipang at montage. Ang tropeo para sa dramatikong tensiyon na sumisiyasat Pinakamahusay na Editing ay sa tunggalian ng personal at politikal, pinagkakaloob sa mga editor. ng indibidwal at ng kolektibo, ng pribado at ng publiko. Iginagawad ang Pinakamahusay na Dulang Pampelikula sa lahat ng manunulat ng pelikula.

40 Pinakamahusay na Tunog at Orkestrasyong Awral: tumutukoy sa paglalapat ng mga aspektong may kinalaman sa tunog sa pelikula musika, likas na tunog, sound effects habang ang mga ito ay isinasalungat sa o inaayon sa lengguwahe ng mga imahen, at kung gayon ay nagiging makahulugang sistema ng pananagisag mismo. Iginagawad ang Pinakamahusay na Tunog sa sound engineer at sa tagapaglapat ng musika.

Pinakamahusay na Pagganap: tumutukoy sa pagganap ng isang papel o karakter na nagsasangkot ng emosyon, damdamin, at karanasan sa mga panlipunang kondisyon ng personal at sa politikal na ekonomiya ng kaugalian at kilos, at kung paano nakatutulong ang mga ito sa pagsasakatauhan ng sarili. Ipinagkakaloob ang Pinakamahusay na Pagganap sa Gumanap, lalaki o babae, matanda o bata, sa isang pangunahin o pangsuportang papel, sa indibidwal o kolektibong pagganap.

41 28th Annual Circle Citations for Distinguished Achievement in Film for 2017 Announced on June 16, 2018 Conferred on August 16, 2018 at the Jorge B. Vargas Museum University of the Philippines, Diliman,

BEST FILM Winner: Baconaua, directed by Joseph Israel Laban (Nicole Runi, Sara Santiago, Ferdinand Lapuz, Derick Cabrido, producers)

Nominees: Kiko Boksingero, directed by Thop Nazareno (Ferdinand Lapuz and James Robin Mayo, producers)

Medusae, directed by Pamela Miras (Tonee Acejo, Lawrence Ang, Heintje Fernandez, Jenny Fernandez-Ang, Jason Tan, producers)

Mga Gabing Kasinghaba ng Hair Ko, directed by Gerardo Calagui (Manuel Marinay, Mabel Villarica-Madamba, Joy Mendoza Rojas, Bianca Balbuena, Bradley Liew, Neil Maristela, Jose Ferdinand Roxas II, producers)

The Chanters, directed by James Robin Mayo (Cai Cena, Thop Nazareno, Ferdinand Lapuz, producers)

42 BEST SCREENPLAY Winner: John Paul Bedia and Andrian Legaspi, The Chanters.

Nominees: Emmanuel Espejo, Jr., Ash Malanum, Denise O’Hara, Heber O’Hara, and Thop Nazareno, Kiko Boksingero

Joseph Israel Laban and Denise O’Hara, Baconaua

Pamela Miras, Medusae

Mark Duane Angos, Mga Gabing Kasinghaba ng Hair Ko

BEST ACHIEVEMENT IN EDITING Winner: Shireen Seno and John Torres, Nervous Translation

Nominees: Lawrence Ang, God BLISS Our Home

Lawrence Ang, Medusae

Bradley Liew, Mga Gabing Kasinghaba ng Hair Ko

BEST ACHIEVEMENT IN CINEMATOGRAPHY AND VISUAL DESIGN Winner: T.M. Malones (cinematography), Marielle Hizon (production design), Baconaua

Nominees: Albert Banzon (cinematography), Aped Santos (production design), Vladimer Castañeto (visual effects), Medusae

Albert Banzon, Jippy Pascua, Dennise Victoria (cinematography), Leeroy New (production design), Nervous Translation

Marvin Reyes (cinematography), Ericson Navarro (production design), Kiko Boksingero

Jav Velasco (cinematography), Carmela Danao (production design), The Chanters

43 BEST ACHIEVEMENT IN SOUND AND AURAL ORCHESTRATION Winner: Mikko Quizon (sound), Itos Ledesma (music), Nervous Translation

Nominees: Monoxide Works, Bryan Dumaguina, JR Miano (sound), Jema Pamintuan (music), Baconaua

Immanuel Verona (sound), Erwin fajardo (music), The Chanters

BEST PERFORMANCE Winner: Anthony Falcon, Mga Gabing Kasinghaba ng Hair Ko

Nominees: Jana Agoncillo, Nervous Translation

Yayo Aguila and Noel Comia, Jr. (duo), Kiko Boksingero

Noel Comia, Jr., Kiko Boksingero

Mon Confiado, Mga Gabing Kasinghaba ng Hair Ko

Matt Daclan, Anthony Falcon, Rocky Salumbides (lead cast ensemble), Mga Gabing Kasinghaba ng Hair Ko

Desire Del Valle, Medusae

Elora Españo, Baconaua

Jally Nae Gilbaliga, The Chanters

Carl Palaganas, Medusae

BEST FIRST FEATURE The Chanters (James Robin Mayo) Si Chedeng at si Apple (Rae Red and Fatrick Tabada) Kiko Boksingero (Thop Nazareno)

44 PAST CITATIONS 1st Circle Citations, 1990 BEST CINEMATOGRAPHY GOLD PRIZE AND VISUAL DESIGN Andrea, Paano Ba ang Maging Isang Ina Kailan Ka Magiging Akin (C: Jun Pereira; (Gil Portes) PD: Charlie Arceo) Hihintayin Kita sa Langit (C: Romeo Vitug; SILVER PRIZE PD: Joey Luna) Bakit Kay Tagal ng Sandali (Chito Roño) Shake, Rattle and Roll III (C: Joe Tutanes; Kasalanan Bang Sambahin Ka (Chito Roño) PD: Don Escudero) Bakit Ikaw Pa Rin (Emmanuel Borlaza) Sa Kabila ng Lahat (C: Ding Austria; PD: Hahamakin Lahat () Benjie De Guzman) Pangako ng Puso (C: Ricardo Jacinto; PD: INDIVIDUAL ACHIEVEMENT PRIZE Tatus Aldana) (actress, Andrea, Paano Ba Sa Kabila ng Lahat (C: Ricardo Jacinto; PD: ang Maging Isang Ina) Tatus Aldana) Ricardo Lee (screenwriter, Andrea, Paano Ba Joey Boy Munti (C: Ely Cruz; PD: Pres Ruiz) ang Maging Isang Ina and Hahamakin Lahat) Dinampot Ka Lang sa Putik (C: Charlie Jun Pereira (cinematographer, Bakit Kay Peralta; PD: Ronaldo Cadapan) Tagal ng Sandali) BEST EDITING George Jarlego (editor, Gumapang Ka sa Lusak) Kailan Ka Magiging Akin (Ike Jarlego, Jr.) Augusto Salvador (director, Angel Molave) Sa Kabila ng Lahat (George Jarlego) Hihintayin Kita sa Langit (Jess Navarro) Shake, Rattle and Roll III (Danny Gloria) 2nd Circle Citations, 1991 Dinampot Ka Lang sa Putik (George Javier) BEST PICTURE BEST SOUND AND AURAL Sa Kabila ng Lahat (Lino Brocka) ORCHESTRATION Class of ‘91 (Gil Portes) Ipagpatawad Mo (Laurice Guillen) Hihintayin Kita sa Langit (M: Ryan Ang Totoong Buhay ni Pacita M (Elwood Cayabyab; S: Gaudencio Barredo) Perez) Shake, Rattle and Roll III (M: Toto Gentica; Joey Boy Munti (Maryo J. de los Reyes) S: Joe Climaco) Dinampot Ka Lang sa Putik (Maryo J. de Sa Kabila ng Lahat (M: ; S: los Reyes) Willy Islao)

BEST SCREENPLAY BEST PERFORMANCE Sa Kabila ng Lahat (Roy Iglesias) Nora Aunor (Ang Totoong Buhay ni Pacita Dinampot Ka Lang sa Putik (Jose Javier M.) Reyes and Jake Tordesillas) (Joey Boy Munti) Ang Totoong Buhay ni Pacita M. (Ricardo (Dinampot Ka Lang sa Lee) Putik) Class of ‘91 (Ricardo Lee) (Ipagpatawad Mo) Ipagpatawad Mo (Olivia Lamasan) (Kailan Ka Magiging Akin)

45 3rd Circle Citations, 1992 (Iisa Pa Lamang) BEST PICTURE Maricel Laxa () Ikaw Pa Lang ang Minahal (Carlos Siguion- Vilma Santos (Sinungaling Mong Puso) Reyna) () Iisa Pa Lamang (Jose Javier Reyes) Tayong Dalawa (Laurice Guillen) Lumayo Ka Man sa Akin (Laurice Guillen) 4th Circle Citations, 1993 BEST PICTURE BEST SCREENPLAY Hindi Kita Malilimutan (Jose Javier Reyes) Ikaw Pa Lang ang Minahal (Raquel Aliwan Paradise (Mike de Leon) Villavicencio) Inay (Artemio Marquez) Iisa Pa Lamang (Jose Javier Reyes) Ikaw (Joel Lamangan) Tayong Dalawa (Jose Dalisay, Jr.) Gaano Kita Kamahal (Butch Perez)

BEST CINEMATOGRAPHY BEST SCREENPLAY AND VISUAL DESIGN Hindi Kita Malilimutan (Jose Javier Reyes) Tag-Araw, Tag-Ulan (C: Loreto Isleta; PD: The Maricris Sioson Story: Japayuki Raymond Bajarias) (Lualhati Bautista) Ikaw Pa Lang ang Minahal (C: Romeo Aliwan Paradise (Clodualdo Del Mundo, Jr.) Vitug; PD: Raymond Bajarias) Hiram na Mukha (C: Charlie Peralta; PD: BEST CINEMATOGRAPHY Benjie De Guzman) AND VISUAL DESIGN Lumayo Ka Man sa Akin (C: Eduardo Ikaw Lang (C: Jun Dalawis; PD: Charlie Jacinto; PD: Guillermo Sancha) Arceo) Ikaw ang Lahat sa Akin (C: Romeo Vitug; Aliwan Paradise (C: Johnny Araojo; PD: PD: Tatus Aldana) Cesar Hernando) Kung Mawawala Ka Pa (C: Romeo Vitug; BEST EDITING PD: Joey Luna) Ikaw Pa Lang ang Minahal (Jess Navarro) Tayong Dalawa (Efren Jarlego) BEST EDITING Narito ang Puso Ko (Jess Navarro) Aliwan Paradise (Jose Almojuela) Aswang (Danny Gloria) Ikaw Lang (Renato De Leon) Kung Mawawala Ka Pa (Jess Navarro) BEST SOUND AND AURAL ORCHESTRATION BEST SOUND AND AURAL Hiram na Mukha (M: Vehnee Saturno; S: ORCHESTRATION Ramon Reyes) Kung Mawawala Ka Pa (M: Ryan Tag-Araw, Tag-Ulan (M: Vehnee Saturno: S: Cayabyab; S: Ramon Reyes) Rolly Ruta and Vic Macama) Aliwan Paradise (M: Ding Achacoso and Aswang (: Vehnee Saturno: S: Rolly Ruta Haruomi Hosono; S: Kenichi Benitani) and Vic Macama) Ikaw Lang (M: Mon Del Rosario; S: Vic Ikaw Pa Lang ang Minahal (: Vehnee Macamay) Saturno: S: Rolly Ruta and Vic Macama) BEST PERFORMANCE BEST PERFORMANCE Nora Aunor (Inay) (Ikaw Pa Lang ang Minahal) Maricel Soriano Aga Muhlach (Hindi Kita Malilimutan) (Narito ang Puso Ko) Vilma Santos (Dahil Mahal Kita: The (Hiram na Mukha) Nanette Medved Dolzura Cortez Story) (Tayong Dalawa) Gabby Concepcion Dawn Zulueta (Kung Mawawala Ka Pa)

46 5th Circle Citations, 1994 BEST PERFORMANCE Maricel Soriano (Vampira) BEST PICTURE Dawn Zulueta (Buhay ng Buhay Ko) Separada Vampira (Joey Romero) Maricel Soriano ( ) Sana Dalawa ang Puso Pangako ng Kahapon (Joel Lamangan) ( Ko Wating (Ishmael Bernal) ) Bakit Ngayon Ka Lang Sana Dalawa ang Puso Ko (Laurice ( ) Wating Guillen) Carmina Villaroel ( ) (Koronang Itim) BEST SCREENPLAY Sana Dalawa ang Puso Ko (Joen Chionglo 6th Circle Citations, 1995 and Laurice Guillen) Massacre Files (Ricardo Lee) BEST PICTURE Separada(Ricardo Lee and Tessie Tomas) Nena Kadenang Bulaklak (Lualhati Bautista) (Ike Jarlego, Jr.) Sana Maulit Muli (Olivia Lamasan) BEST CINEMATOGRAPHY AND The Flor Contemplacion Story (Joel VISUAL DESIGN Lamangan) The Fatima Buen Story (C: Johnny Araojo BEST SCREENPLAY and Romulo Araojo; PD: Benjie De Nena Guzman) (Lualhati Bautista) Sana Maulit Muli Wating (C: Charlie Peralta; PD: Len Santos (Olivia Lamasan and and Jayjay Medina) Jose Javier Reyes) The Flor Contemplacion Story Vampira(C: Charlie Peralta; PD: Benjie De (Ricardo Guzman) Lee and Boni Ilagan) Pare Ko Pangako ng Kahapon (C: Romeo Vitug; PD: (Jose Javier Reyes) Manny Morfe) BEST CINEMATOGRAPHY AND Sana Dalawa ang Puso Ko (C: Eduardo VISUAL DESIGN Jacinto; PD: Edgar Martin Littaua) The Flor Contemplacion Story (C: BEST EDITING Felizardo Bailen; PD: Raymond Bajarias) Nena Vampira (Danilo Gloria) (C: Lito Mempin; PD: Ernest Pangako ng Kahapon (Jess Navarro) Santiago) Dahas Wating (Danilo Gloria) (C: Charlie Peralta; PD: Jeffrey The Fatima Buen Story (George Jarlego) Jeturian) Sana Maulit Muli (C: Romeo Vitug; PD: BEST SOUND AND AURAL Randy Gamier) ORCHESTRATION Inagaw Mo ang Lahat sa Akin(C: Romeo Sana Dalawa ang Puso Ko (M: Nonong Vitug; PD: Joey Luna) Sa Ngalan ng Pag-ibig Buencamino; S: Ramon Reyes) (C: Charlie Peralta; Wating (M: Jaime Fabregas; S: Joe PD: Benjie De Guzman) Climaco) BEST EDITING Pangako ng Kahapon (M: Vehnee Saturno; Dahas S: Vic Macamay) (Jaime David) Sa Ngalan ng Pag-ibig Vampira (M: Jaime Fabregas; Joe Climaco) (George Jarlego) Pare Ko The Fatima Buen Story (M: Nonong (George Jarlego) Nena Buencamino; S: Joe Climaco) (Marya Ignacio)

47 BEST SOUND AND AURAL BEST SOUND AND AURAL ORCHESTRATION ORCHESTRATION Dahas (M: Jessie Lasaten; S: Albert Mumbaki (M: Jaime Fabregas; S:Ramon Michael Idioma) Reyes) Sa Ngalan ng Pag-ibig (M: Jaime Fabregas; Isla (M: Nonong Buencamino; S: Ramon S: Joe Climaco) Reyes) Pare Ko (M: Eric Antonio and Carlo Bulahan; S: Ramon Reyes) BEST PERFORMANCE Nena (M: Nonong Buencamino; S: Vic (Madrasta) Macamay) Nora Aunor (Bakit May Kahapon Pa) (May Nagmamahal sa Iyo) BEST PERFORMANCE Nora Aunor (The Flor Contemplacion Story) 8th Circle Citations, 1997 Aga Muhlach (Sana Maulit Muli) Nora Aunor (Muling Umawit ang Puso) BEST PICTURE Jaclyn Jose (The Flor Contemplacion Story) Batang PX (Jose Javier Reyes) Lorna Tolentino (Sa Ngalan ng Pag-ibig) Damong Ligaw (Jose Mari Avellana) (Nena) Sharmaine Arnaiz (Ipaglaban Mo: The BEST SCREENPLAY Movie) Batang PX (Jose Javier Reyes) Maricel Soriano (Dahas) Minsan Lamang Magmamahal (Jose Javier Reyes) Damong Ligaw (Jose Mari Avellana) 7th Circle Citations, 1996 BEST CINEMATOGRAPHY AND BEST PICTURE VISUAL DESIGN Mumbaki (Jose Antonio Perez) Milagros (C: Eduardo Jacinto; PD: Len Santos) BEST SCREENPLAY Batang PX (C: Ding Achacoso; PD: Benjie Mumbaki (Amado Lacuesta) De Guzman) Segurista (, Amado Hanggang Kailan Kita Mamahalin (C: Joe Lacuesta, Jr., and Jose Lacaba) Batac, Jr.; PD: Nuel Naval) Ganti ng Puso (Roy Iglesias) BEST EDITING BEST CINEMATOGRAPHY AND Milagros (Jess Navarro) VISUAL DESIGN Batang PX (Danny Gloria) Isla (C: Isagani Joson; PD: Lino Dalay and Willy Javier) BEST SOUND AND AURAL Mumbaki (C: Eduardo Jacinto; PD: Joey ORCHESTRATION Luna) Milagros (M: Nonong Buencamino; S: Segurista (C: Jun Dalawis; PD: Edgar Ramon Reyes) Martin Littaua) Damong Ligaw (M: Irwin Cafugauan; S: Noel Bruan and Nestor Mutia) BEST EDITING Hanggang Kailan Kita Mamahalin (M: Isla (Ruben Pantoja) Willy Cruz; S: Ramon Reyes) Mumbaki (Manet Dayrit) Ganti ng Puso (Ferren Salumbides) Segurista (Edgardo Vinarao and Myrna Medina Bhunjun)

48 BEST PERFORMANCE Bata, Bata, Paano Ka Ginawa (M: Jessie Batang PX ( ) Lasaten; S: Albert Michael Idioma) Babae Nora Aunor ( ) Sana Pag-ibig Na (M: Joy Marfil; S: Willy Milagros Nonie Buencamino ( ) Islao) Maricel Soriano (Minsan Lamang Magmamahal) BEST PERFORMANCE Damong Ligaw Romnick Sarmenta ( ) Vilma Santos (Bata, Bata, Paano Ka Hanggang Kailan Kita Lorna Tolentino ( Ginawa) Mamahalin ) (Sana Pag-ibig Na) Serena Dalrymple (Bata, Bata, Paano Ka Ginawa) 9th Circle Citations, 1998 (Babae sa Bubungang Lata) (José Rizal) BEST PICTURE Bata, Bata, Paano Ka Ginawa (Chito S. Roño) 10th Circle Citations, 1999 Babae sa Bubungang Lata (Mario O’ Hara) Sana Pag-ibig Na (Jeffrey Jeturian) BEST PICTURE Curacha: Ang Babaeng Walang Pahinga Sisa (Mario O’Hara) (Chito S. Roño) Pila Balde (Jeffrey Jeturian) (Gil M. Portes) BEST SCREENPLAY Phone Sex (Jose Javier Reyes) Bata, Bata, Paano Ka Ginawa (Lualhati Bulaklak ng Maynila (Joel Lamangan) Bautista) Babae sa Bubungang Lata (Mario O’Hara) BEST SCREENPLAY Sana Pag-ibig Na (Armando Lao) Sisa (Mario O’Hara) Curacha: Ang Babaeng Walang Pahinga Pila Balde (Armando Lao) (Ricardo Lee) BEST CINEMATOGRAPHY AND BEST CINEMATOGRAPHY AND VISUAL DESIGN VISUAL DESIGN Pila Balde (C: Shayne Sarte-Clemente; PD: Babae sa Bubungang Lata (C: Rey De Ronnie Cruz) Leon; PD: James Quimson) Phone Sex (C: Eduardo Jacinto; PD: Jake Curacha, Ang Babaeng Walang Pahinga De Asis) (C: Charlie Peralta; PD: Tatus Aldana) Bulaklak ng Maynila(C: Monino Duque; Bata, Bata, Paano Ka Ginawa (C: Charlie PD: Benjie De Guzman) Peralta; PD: Manny Morfe) BEST EDITING BEST EDITING Pila Balde (Robert Vasadre) Sana Pag-ibig Na (Robert Vasadre) Sisa (George Jarlego) Bata, Bata, Paano Ka Ginawa (Jaime Luksong Tinik (Vito Cajili) Davila) Curacha, Ang Babaeng Walang Pahinga BEST SOUND AND AURAL (Jaime Davila) ORCHESTRATION Phone Sex (M: Jesse Lucas; S: Albert BEST SOUND ANG AURAL Michael Idioma) ORCHESTRATION Pila Balde (M: Jay Durias; S: Joe Climaco) Curacha, Ang Babaeng Walang Pahinga Bulaklak ng Maynila (M: Jessie Lasaten; S: (M: Jaime Fabregas; S: Albert Michael Ramon Reyes) Idioma)

49 BEST PERFORMANCE BEST SOUND AND AURAL Elizabeth Oropesa (Bulaklak ng Maynila) ORCHESTRATION Lester Llansang (Saranggola) Bayaning Third World (M: Lorrie Ilustre; Christopher de Leon (Bulaklak ng S: Noel Cruz Bruan and Raffy Baladjay, Maynila) Jr.) Jhong Hilario (Muro-ami) Sugatang Puso (M: Jesse Lucas; S: Albert Michael Idioma) Tanging Yaman (M: Nonong Buencamino; 11th Circle Citations, 2000 S: Ramon Reyes)

BEST PICTURE BEST PERFORMANCE Bayaning Third World (Mike De Leon) entire cast (Tanging Yaman) Tanging Yaman (Laurice Guillen) Rio Locsin (Bayaning Third World) Senswal (Edgardo Vinarao) Elizabeth Oropesa (Senswal) Mother Ignacia, Ang Uliran (Nick (Azucena) Deocampo) (Markova, Comfort Gay) Sugatang Puso (Jose Javier Reyes) (Tanging Yaman) (Tanging Yaman) BEST SCREENPLAY Tanging Yaman (Laurice Guillen, Shaira Mella Salvador, and Raymond Lee) 12th Circle Citations, 2001 Senswal (Jose Carreon) Mother Ignacia, Ang Uliran (Nick BEST PICTURE Deocampo and Chuck Escasa) Minsan May Isang Puso (Jose Javier Reyes) BEST CINEMATOGRAPHY AND Sa Huling Paghihintay () VISUAL DESIGN Yamashita: The Tiger’s Treasure (Chito S. Bayaning Third World (C: Ding Achacoso; Roño) PD: Roy Lachica) Pedrong Palad (C: Alma Dela Peña and BEST SCREENPLAY Louie Quirino; PD: Ellen Ramos) Minsan May Isang Puso (Jose Javier Senswal (C: Romeo Vitug; PD: Donnie Reyes) Gonzales) Sa Huling Paghihintay (Mark Querubin, Pangarap ng Puso (C: Johnny Araojo; PD: Jay Abello, and Erik Matti) Judy Lou De Pio and John Portugal) Yamashita: The Tiger’s Treasure (Roy Laro sa Baga (C: Neil Daza; PD: Mike Iglesias) Guison) Markova Comfort Gay (C: Johnny Araojo; BEST CINEMATOGRAPHY AND PD: Kay Abaño) VISUAL DESIGN Tanging Yaman (C: Lee Meily; PD: Edgar Yamashita: The Tiger’s Treasure (C: Neil Martin Littaua) Daza; PD: Fernan Santiago) Sa Huling Paghihintay (C: Lauro Rene R. BEST EDITING Manda; PD: Rodell Cruz) Bayaning Third World (Armando Jarlego) Minsan May Isang Puso (C: Eduardo Senswal (Edgardo Vinarao) Jacinto; PD: Jake De Asis) Tanging Yaman (George Jarlego) La Vida Rosa (C: Neil Daza; PD: Gerry Pascual)

50 BEST EDITING Buko Pandan (C: Johnny Araojo; PD: Nene Minsan May Isang Puso (Tara Illenberger) Nebres) Sa Huling Paghihintay (Vito Cajili) Itlog (C: Romeo Vitug; PD: Edgar Martin La Vida Rosa (Vito Cajili and Joyce Bernal) Littaua) Hubog (Tara Illenberger) Diskarte (C: Jun Pereira; PD: Alex Ochoa) Yamashita: The Tiger’s Treasure (Manet Mga Munting Tinig (C: Ely Cruz; PD: Dayrit) Arthur Nicdao) Dekada ‘70 (C: Neil Daza; PD: Manny BEST SOUND AND AURAL Morfe) ORCHESTRATION Minsan May Isang Puso (M: Jesse Lucas; S: BEST EDITING Albert Michael Idioma) Diskarte (Francis Vinarao) Yamashita: The Tiger’s Treasure (M: Mga Munting Tinig (George Jarlego) Kormann Roque and Nathan Brenholdt; S: Dekada ‘70 (Jess Navarro) Albert Michael Idioma) Sa Huling Paghihintay (M: Toto Gentica; S: BEST SOUND AND AURAL Arnold Reodica) ORCHESTRATION Hubog (M: Jessie Lasaten; S: Albert Dekada ‘70 (M: Nonong Buencamino; S: Michael Idioma) Albert Michael Idioma and Alex Tomboc) Buko Pandan (M: Blitz Padua; S: Nestor BEST PERFORMANCE Arvin Mutia) Jaclyn Jose (Minsan May Isang Puso) Diskarte (M: Tony Cortez; S: Nestor Arvin (Sa Huling Paghihintay) Mutia) (Minsan May Isang Puso) (Minsan May Isang Puso) BEST PERFORMANCE Rosanna Roces (La Vida Rosa) Vilma Santos (Dekada ‘70) (Dekada ‘70) Regine Velasquez ( 13th Circle Citations, 2002 Hanggang Ngayon) Celso Ad. Castillo (Itlog) BEST PICTURE Dekada ‘70 (Chito S. Roño) Buko Pandan (Uro Q. de la Cruz) 14th Circle Citations, 2003 Itlog (Francis Jun Posadas) Diskarte (Edgardo Boy Vinarao) BEST PICTURE Mga Munting Tinig (Gil M. Portes) Babae sa Breakwater (Mario O’Hara) Anghel sa Lupa (Jose Javier Reyes) BEST SCREENPLAY Homecoming (Gil M. Portes) Dekada ‘70 (Lualhati Bautista) Malikmata (Jose Javier Reyes) Itlog (Jerry Arcega-Gracio) Diskarte (Humilde Meek Roxas and Senen BEST SCREENPLAY C. Dimaguila) Babae sa Breakwater Mga Munting Tinig (Adolf Alix, Jr., Gil Anghel sa Lupa Portes, and Senedy Que) BEST CINEMATOGRAPHY AND BEST CINEMATOGRAPHY AND VISUAL DESIGN VISUAL DESIGN Babae sa Breakwater (C: Rey De Leon; PD: Ikaw Lamang Hanggang Ngayon(C: Yam Melody Teodoro) Laranas; PD: Sammy Aranzamendez) Anghel sa Lupa (C: Mark Gary; PD: Jake De Asis)

51 BEST PERFORMANCE Malikmata (C: Regiben Romana and Lito Mempin; PD: Edgardo Littaua) (Minsan Pa) (Aishite Imasu) BEST EDITING Nora Aunor (Naglalayag) Malikmata (Vito Cajili) (Santa Santita) Babae sa Breakwater (Roberto Vasandre) Anghel sa Lupa (Tara Illenberger) 16th Circle Citations, 2005 BEST SOUND AND AURAL ORCHESTRATION BEST PICTURE Anghel sa Lupa (M: Jesse Lucas; S: Ross Masahista (Brillante Mendoza) Diaz) BEST SCREENPLAY Babae sa Breakwater (M: Jesse Lucas; S: Leody Maralit) Masahista (Boots Agbayani Pastor) Malikmata (M: Francis Guevarra and Let the Love Begin (RJ Nuevas and Suzette Ferdie Marquez; S: Albert Michael Idioma) Doctolero)

BEST PERFORMANCE BEST CINEMATOGRAPHY AND VISUAL DESIGN Katherine Luna (Babae sa Breakwater) Maricel Soriano (Filipinas) Masahista (C: Timmy Jimenez and Elizabeth Oropesa (Homecoming) Monchie Redoble; PD: Benjamin Padero) entire cast (Malikmata) Paraiso (C: Ramon Marcelino; PD: Han Salazar)

15th Circle Citations, 2004 BEST EDITING Masahista (Nonoy Dadivas and Herbert BEST PICTURE Navasca) Minsan Pa (Jeffrey Jeturian) BEST SOUND AND AURAL (Yam Laranas) ORCHESTRATION BEST SCREENPLAY Masahista (M: Jerrold Tarog; S: Rudy Minsan Pa (Armando Lao) Gonzales and Nonoy Davidas) Sigaw (Roy Iglesias) BEST PERFORMANCE BEST CINEMATOGRAPHY AND Coco Martin (Masahista) VISUAL DESIGN entire cast (Nasaan Ka Man) Sigaw (C: Yam Laranas; PD: Sammy Jaclyn Jose (Masahista) Aranzamendez) (Dubai)

BEST EDITING 17th Circle Citations, 2006 Sigaw (Manet Dayrit) Spirit of the Glass (Vito Cajili) BEST PICTURE BEST SOUND AND AURAL Inang Yaya (Pablo Biglang-Awa and ORCHESTRATION Veronica Velasco) Sigaw (M: Jesse Lucas; S: Albert Michael BEST SCREENPLAY Idioma and Arnold Reodica) Feng Shui (M: Carmina Cuya; S: Albert Inang Yaya (Veronica Velasco) Michael Idioma)

52 BEST CINEMATOGRAPHY AND BEST SOUND AND AURAL VISUAL DESIGN ORCHESTRATION Inang Yaya (C: Gary Gardoce; PD: Reji Endo (M: Owel Alvero; S: Corinne De San Regalado) Jose and Mark Locsin) Kubrador (C: Boy Yniguez; PD: Leo Abaya) Still Life (M: Wincy Aquino Ong; S: Joey Santos) BEST EDITING Tirador (M: Teresa Barrozo; S: Ditoy Inang Yaya (Randy Gabriel) Aguila and Junel Valencia) Kubrador (Jay Halili) BEST PERFORMANCE BEST SOUND AND AURAL (Endo) ORCHESTRATION (Foster Child) Inang Yaya (M: Nonong Buencamino; S: (Foster Child) Mark Locsin and Angie Reyes) Ron Capinding (Still Life)

BEST PERFORMANCE Maricel Soriano (Inang Yaya) 19th Circle Citations, 2008 Cherry Pie Picache (Kaleldo) entire cast (Inang Yaya) BEST PICTURE Adela (Adolfo Alix, Jr.) Serbis (Brillante Mendoza) 18th Circle Citations, 2007 BEST SCREENPLAY BEST PICTURE Adela (Adolfo Alix, Jr. and Nick Olanka) Foster Child (Brillante Mendoza) Serbis (Armando Lao) Endo (Jade Francis Castro) BEST CINEMATOGRAPHY AND BEST SCREENPLAY VISUAL DESIGN Foster Child (Ralston Jover) Adela (C: Albert Banzon; PD: Adolfo Alix, Endo (Jade Castro, Michiko Yamamoto, Jr. and Jerome Zamora) and Raymond Lee) Serbis (C: Odyssey Flores; PD: Carlo Tabije and Benjamin Padero) BEST CINEMATOGRAPHY AND VISUAL DESIGN BEST EDITING Death in the Land of the Encantos (C: Lav Adela (Aleks Castañeda) Diaz; PD: Dante Perez) Serbis (Claire Villa-Real) Foster Child (C: Odyssey Flores; PD: Benjamin Padero) BEST SOUND AND AURAL Still Life(C: Dan Villegas; PD: Cris Silva) ORCHESTRATION Tirador (C: Jeffrey Dela Cruz, Brillante Adela (M: Mark Locsin and Jojo Jacinto; S: Mendoza, Gary Tria, Julius Palomo Ditoy Aguila and Junel Valencia) Villanueva; PD: Deans Habal and Harley Serbis (M: Gian Gianan; S: Emmanuel Alcasid) Clemente)

BEST EDITING BEST PERFORMANCE Endo (J.D. Domingo) Anita Linda (Adela) Tirador (Charliebebs Gohetia) Paolo Paraiso (Imoral) Ronnie Lazaro (Yanggaw) Carlo Aquino (Baler)

53 20th Circle Citations, 2009 21st Circle Citations, 2010

BEST PICTURE BEST PICTURE Bakal Boys (Ralston Jover) Himpapawid (Raymond Red) Last Viewing (Roni Bertubin) Ang Damgo ni Eleuteria (Remon Siega Biyaheng Lupa (Armando Lao) Zuasola) Engkwentro () Punerarya (Jerrold Tarog)

BEST SCREENPLAY BEST SCREENPLAY Biyaheng Lupa (Armando Lao) Himpapawid (Raymond Red) Last Viewing (Romualdo Avellanosa) Ang Damgo ni Eleuteria (Remton Siega Ang Panggagahasa kay Fe (Alvin Yapan) Zuasola) Last Supper No. 3 (Veronica Velasco and Punerarya (Rona Lean Sales and Aloy Jinky Laurel) Adlawan) Bakal Boys (Ralston Jover and Henry Burgos) BEST CINEMATOGRAPHY AND VISUAL DESIGN BEST CINEMATOGRAPHY AND Himpapawid (C: Raymond Red; PD: VISUAL DESIGN Danny Red; Design Consultants: Cesar Bakal Boys (C: Ruben Dela Cruz; PD: Hernando, and Ronald Red) Deans Habal) Ang Damgo ni Eleuteria (C: Christian Engkwentro (C: Emman Pascual; PD: Linaban; PD: Kaloy Uypuanco, AD: Victor Leeroy New) Villanueva, CS: Syrel Lopez) Punerarya (C: Mackie Galvez; PD: BEST EDITING Benjamin Padero) Engkwentro (Ralph Crisostomo, Miguel Araneta, and Orlean Joseph Tan) BEST EDITING Last Viewing (Lee Mi Soon) Himpapawid (David Hukom, Jay Halili, Bakal Boys (Charliebebs Gohetia and Kats Raymond Red) Serraon) Ang Damgo ni Eleuteria (Remton Siega Zuasola) BEST SOUND AND AURAL Punerarya (Renewin Alano) ORCHESTRATION Biyaheng Lupa (M: Gian Gianan; S: BEST SOUND AND AURAL Emmanuel Nolet Clemente and Ditoy ORCHESTRATION Aguila) Punerarya (M: Jerrold Tarog; S: Lamberto Engkwentro (S: Mark Laccay) Casas, Jr.) Bakal Boys (M: Teresa Barrozo; S: Mark Himpapawid (M: Diwa De Leon) Locsin) Ang Damgo ni Eleuteria (M: Jerrold Tarog; Vanya Fantonial) BEST PERFORMANCE (Last Viewing) BEST PERFORMANCE Anita Lina and Rustica Carpio (Lola) (Punerarya) Ensemble (Biyaheng Lupa) Raul Arellano (Himpapawid) Meljon Guinto (Bakal Boys)

54 22nd Circle Citations, 2011 BEST PERFORMANCE Diana Zubiri (Bahay Bata) BEST PICTURE Arthur Acuña (Niño) Haruo (Adolf Alix, Jr.) Fides Cuyugan-Asensio (Niño) Bahay Bata (Eduardo Roy, Jr.) Sharmaine Centenera-Buencamino (Niño) Señorita (Vincent Sandoval) Vincent Sandoval (Señorita) Alfred Vargas (Teoriya) BEST SCREENPLAY Niño (Rody Vera) 23rd Circle Citations, 2012 Ang Sayaw ng Dalawang Kaliwang Paa (Alvin Yapan) BEST PICTURE Bisperas (Paul Sta. Ana) Haruo (Jerome Zamora) Qiyamah (Gutierrez Mangansakan II) Señorita (Vincent Sandoval and Roy Ang Paglalakbay ng mga Bituin sa Gabing Sevilla Ho) Madilim (Arnel Mardoquio) Teoriya (Zurich Chan) Kalayaan (Adolfo Alix, Jr.)

BEST CINEMATOGRAPHY AND BEST SCREENPLAY VISUAL DESIGN Ang Paglalakbay ng mga Bituin sa Gabing Teoriya (C: Dexter Dela Peña; PD: Paul Madilim (Arnel Mardoquio) Marquez) Aparisyon (Vincent Sandoval and Jerry Bahay Bata (C: Ogi Sugatan; PD: Harry Gracio) Alcasid; AD: Armand Samonte; CS: Tessa Kalayaan (Adolfo Alix, Jr.) Aquino) Oros (Paul Sta. Ana and Obet Villela) Bisperas (C: Roberto Yniquez; PD: Rodrigo Qiyamah (Gutierrez Mangansakan II) Ricio; CS: Tessa Aquino) (Henry Burgos) Haruo (C: Albert Banzon; PD: Roland BEST CINEMATOGRAPHY AND Rubenecia) VISUAL DESIGN Señorita (C: Ruel Dahis Antipuesto; PD: Armi Rae Cacanindin) Kalayaan(C: Albert Banzon; PD: Adolfo Alix, Jr.) BEST EDITING Ang Paglalakbay ng mga Bituin sa Señorita (Charliebebs Gohetia) Gabing Madilim (C: Arnel Barbarona Haruo (Aleks Castañeda) and McRobert Nacario; PD: Bagwani Ampalayo) BEST SOUND AND AURAL Diablo (C: Tristan Salas; PD: Cesar ORCHESTRATION Hernando) Ang Sayaw ng Dalawang Kaliwang Kamera Obskura (C: Raymond Red; PD: Paa (M: Christine Muyco and Jema Daniel Red and Cesar Hernando; AD: Pamintuan; S: Arnold Reodica) Mikey Red; VE: Edrie Ocampo and Pablo Bahay Bata (M: Toni Muñoz; S: Albert Biglang-Awa) Michael Idioma) Qiyamah (C: McRobert Nacario; PD: Perry Niño (M: Jerrold Tarog; S: Albert Michael Dizon) Idioma) Thy Womb (C: Odyssey Flores; PD: Brillante Mendoza)

55 BEST EDITING BEST CINEMATOGRAPHY AND Qiyamah (Arnel Barbarona and Gutierrez VISUAL DESIGN Mangansakan II) Lauriana (C: Nap Jamir; PD: Edgar Martin Aparisyon (Jerrold Tarog and Vincent Littaua) Sandoval) Mga Anino ng Kahapon (C: Dexter Jingle Lang ang Pahina (Aimee Apostol- Dela Peña and Jan Tristan Pandy; PD: Escasa) Whammy Alcazaren; AD: Frances Grace Kalayaan (Aleks Castañeda) Mortel and Rita Vargas; SD: Phyllis Grae Thy Womb (Kats Serraon) Grande) Badil (C: Neil Daza; PD: Jayvee Taduran; BEST SOUND AND AURAL AD: Donald Camon) ORCHESTRATION Debosyon (C: Dexter Dela Peña; AD: Roy Kalayaan (M: Teresa Barrozo; S: Ditoy Dominguiano and Pat Noveno; PD: Dennis Aguila) Corteza and Paolo Rey Mendoza Piaña; Qiyamah (M: Raphael Pulgar; S: Arnel VE: Omar Aguilar) Barbarona) Dukit (C: Triztan Garcia, Bruno Tiotuico, Ang Paglalakbay ng mga Bituin sa Gabing Jeffrey Icawat, and Diego Dobles; PD: Leo Madilim (S: Arbi Barbarona) Abaya and Olga Marquez) The Guerilla is a Poet (C: Kiri Dalena; PD: BEST PERFORMANCE Sari Dalena) Nora Aunor (Thy Womb) Ang Kwento ni Mabuti (C: Albert Banzon; Kristoffer King (Oros) PD: Cesar Hernando and Mes De Guzman) Ama Quiambao (Diablo) Pagpag (C: David Diaz-Abaya; PD: Luis Fides Cuyugan-Asensio (Aparisyon) Custodio IV; VE: Daren Francis Raña) Kristoffer Martin (Oros) Porno (C: Albert Banzon; PD: Adolfo Alix, Jr.; AD: Bobet Lopez) Quick Change (C: Dan Villegas; PD: Harley 24th Circle Citations, 2013 Alcasid) Sonata (C: Mark Gary; PD: Emilio BEST PICTURE Montelibano, Jr.; VE: Richard Francia) Porno (Adolfo Alix, Jr.) Mga Anino ng Kahapon (Alvin Yapan) BEST EDITING Babagwa (Jason Paul Laxamana) Porno (Aleks Castañeda) Badil (Chito Roño) Pagpag (Jerrold Tarog) Dukit (Armando Lao) Badil (Carlo Francisco Manatad) Ang Kwento ni Mabuti (Mes de Guzman) Dukit (Diego Marx Dobles) Pagpag (Frasco Santos Mortiz) Quick Change (Eduardo Roy, Jr.) BEST SOUND AND AURAL ORCHESTRATION BEST SCREENPLAY Porno (S: Albert Michael Idioma and Ira Porno (Ralston Jover) Trofeo) Mga Anino ng Kahapon (Alvin Yapan) Babagwa (M: Lucien Letaba and Joseph Babagwa (Jason Paul Laxamana) Lansang; S: Addiss Tabong) Badil (Rodolfo Vera) Badil (M: Carmina Cuya; S: Addiss Tabong) Debosyon (Alvin Yapan) Debosyon (M: Teresa Barrozo and Jireh Dukit (Armando Lao) Pasano; S: Ray Andrew San Miguel and Ang Kwento ni Mabuti (Mes De Guzman) Andrew Millalos) Quick Change (Eduardo Roy, Jr.) Dukit (M: Armando Lao; S: Armando Lao) Pagpag (M: Francis Concio; S: Arnel Labayo)

56 BEST PERFORMANCE BEST SOUND AND AURAL Carlo Aquino (Porno) ORCHESTRATION Jhong Hilario (Badil) Sonata Maria (M: Jad Montenegro; S: (Porno) Maki Serapio, Wrap Meting, and Mark Nora Aunor (Ang Kwento ni Mabuti) Limbaga) Adrian Cabido (Lauriana) Dagitab (M: Mon Espia; S: Adam Newns Carlo Cruz (Mga Anino ng Kahapon) and Mikko Quizon) (Lauriana) (Sonata Maria) BEST PERFORMANCE Dick Israel (Badil) Eula Valdes and Nonie Buencamino Alex Vincent Medina (Babagwa) (Dagitab) (Pagpag) Nonie Buencamino (Dagitab) Joey Paras (Babagwa) Eula Valdes (Dagitab) Sue Prado (Ang Kwento ni Mabuti) Krigi Hager (Sonata Maria) TJ Trinidad (Mga Anino ng Kahapon) Bing Pimentel (Mariquina) entire cast (Porno) Isaac Cain Aguirre, Nathaniel Britt, Elijah Canlas, and Akira Morishita (Sundalong BEST FIRST FEATURE Kanin) Angustia (Kristian Sendon Cordero) Puti (Miguel Alcazaren) BEST FIRST FEATURE Ang Turkey man ay Pabo rin (Randolph Dagitab (Giancarlo Abrahan V) Longjas) Nick & Chai (Che Escala and Wena Sanchez) Sonata Maria (Bagane Fiola) 25th Circle Citations, 2014

BEST PICTURE 26th Circle Citations, 2015 no winner and nominees BEST PICTURE BEST SCREENPLAY Da Dog Show (Ralston Jover) no winner and nominees Ari: My Life with a King (Carlo Enciso Catu) BEST CINEMATOGRAPHY AND Balikbayan # 1 Memories of VISUAL DESIGN Overdevelopment Redux III (Kidlat Dagitab (C: Rommel Sales; PD: Whammy Tahimik) Alcazaren and Tessa Tang) An Kubo sa Kawayanan (Alvin Yapan) Mariquina (C: Sasha Palomares; PD: Aped Taklub (Brillante Mendoza) Santos) Mga Rebeldeng May Kaso (Raymond Red) Sonata Maria (C: Wrap Meting and Mark Limbaga; PD: Bagane Fiola, Orvil BEST SCREENPLAY Bantayan, Mandy Velasco, Lulu Amorado, Da Dog Show (Ralston Jover) and Louie Daniel) An Kubo sa Kawayanan (Alvin Yapan) Ari: My Life with a King (Robby BEST EDITING Tantingco) Mariquina (Benjamin Tolentino) Balikbayan # 1 Memories of Dagitab (Benjamin Tolentino) Overdevelopment Redux III (Kidlat Nick and Chai (Cha Escala and Bam Tahimik) Luneta) Mga Rebeldeng May Kaso (Raymond Red) Sonata Maria (Bagane Fiola) Salvage (Sherad Anthony Sanchez) Taklub (Honeylyn Joy Alipio)

57 BEST CINEMATOGRAPHY AND BEST PERFORMANCE VISUAL DESIGN (Da Dog Show) Balikbayan # 1 Memories of Alessandra de Rossi (Bambanti) Overdevelopment Redux III (C: Boy Mercedes Cabral (An Kubo sa Yñiguez, Lee Briones, Abi Lara, Santos Kawayanan) Bayucca, Kidlat de Guia, Kawayan de Mercedes Cabral (Da Dog Show) Guia, and Kidlat Tahimik; PD: Kidlat Nora Aunor (Taklub) Tahimik) Ronwaldo Martin (Ari: My Life with a AnKubo sa Kawayanan (C: Ronald King) Rebutica; PD: Paolo Rey Mendoza Piaña) Julia Montes (Halik sa Hangin) Bambanti (C: Joseph Delos Reyes and Ma. Micko Laurente (Bambanti) Solita Garcia; PD: Aped Santos) Epy Quizon, Felix Roco, Nicco Manahan, Da Dog Show (C: Carlo Mendoza; PD: Earl Ignacio, Angela Cortez (Mga Deans Habal) Rebeldeng May Kaso) Halik sa Hangin (C: Moises Zee; PD: Jessy Mendiola, JC De Vera, Barbie Manny Morfe) Capacio, Karl Medina, Joel Saracho Miss Bulalacao (C: Christian Linaban; PD: (Salvage) Ernest Diño and Philip Sinajonon) Mga Rebeldeng May Kaso (C: Raymond BEST FIRST FEATURE Red; PD: Danny Red) Ari: My Life with a King (Carlo Enciso Salvage (C: Malay Javier; PD: Joel Catu) Geolamen) Dayang Asu (Bor Ocampo) Taklub (C: Odysseus Flores; PD: Harley Miss Bulalacao (Ara Chawdhury) Alcasid and Brillante Mendoza)

BEST EDITING 27th Circle Citations, 2016 Salvage (Lawrence Ang) BEST PICTURE Balikbayan # 1 Memories of Women of the Weeping River (Sheron Overdevelopment Redux III (Charlie Dayoc) Fugunt, Abi Lara, Chuck Gutierrez, Clang Baboy Halas (Bagane Fiola) Sison, Malaya Camporedondo) Ma’ Rosa (Brillante Ma. Mendoza) Da Dog Show (Kats Serraon) Malinak Ya Labi (Jose Abdel Langit) Halik sa Hangin (Beng Bandong) Mrs. (Adolfo Alix, Jr.) An Kubo sa Kawayanan (Benjamin Tolentino) BEST SCREENPLAY Mga Rebeldeng May Kaso (Raymond Red Mrs. (Ralston Jover) and Erwin Toledo) Women of the Weeping River (Sheron Shapes of Crimson (Emil James Mijares) Dayoc) Ma’ Rosa (Troy Espiritu) BEST SOUND AND AURAL Malinak Ya Labi (Jose Abdel Langit) ORCHESTRATION Patay Na Si Hesus (Fatrick Tabada and Balikbayan # 1 Memories of Moira Lang) Overdevelopment Redux III (M: Los Indios Area (Robby Tantingco and Ferdinand De España and Shanto; S: Ed De Guia) Dizon Lapuz) Ari: My Life with a King (M: Jake Abella; S: Ang Tulay ng San Sebastian (Alvin Yapan) Gilbert Obispo) Halik sa Hangin (M: Francis Concio; S: Addiss Tabong)

58 BEST CINEMATOGRAPHY AND BEST PERFORMANCE VISUAL DESIGN Laila Putli P. Ulao (Women of the Weeping Baboy Halas (Raphael Meting, Mark River) Limbaga, Joel Geolamen) Ai-Ai de las Alas (Area) Mrs. (Albert Banzon, Arthur Maningas) (Tuos) Tuos (Mycko David, Steff Dereja) Daria Ramirez (Mrs.) Ma’ Rosa (Odyssey Flores, Brillante Elizabeth Oropesa (Mrs.) Mendoza) Nora Aunor (Tuos) Women of the Weeping River (Rommel Jaclyn Jose (Ma’ Rosa) Sales, Harley Alcasid) Jaclyn Jose (Patay Na Si Hesus) Luz Fernandez (Malinak Ya Labi) BEST EDITING and Sandino Martin (Ang Women of the Weeping River (Carlo Tulay ng San Sebastian) Francisco Manatad) Nora Aunor and Barbie Forteza (Tuos) Ma’ Rosa (Diego Marx Dobles) Ai-Ai de las Alas, Allen Dizon, Sue Prado, Malinak Ya Labi (Gilbert Obispo) Sarah Pagcaliwagan, Ireen Cervantes, Tabs Sumulong, Sancho de las Alas, BEST SOUND AND AURAL Francisco Guinto, Cecile Yumul, Bambalito ORCHESTRATION Lacap, Eurocina Peña, Rein Gutierrez, Ang Tulay ng San Sebastian (Hiroko Nagai, Vicky Vega-Cabigting (Area) Jess Carlos) Allen Dizon, , Luz Ma’ Rosa (Teresa Barrozo, Albert Michael Fernandez, Richard Quan, Dexter Doria, Idioma) Menggie Cobarrubias, Marcus Madrigal, Women of the Weeping River (Kit Mendoza, Althea Vega, Timothy Castillo, Dante Albert Michael Idioma and Immanuel Balois, Tabs Sumulong, Raul Tamayo, Verona) Shiela Paragas, Karla Zabala, Angela Malinak Ya Labi (Emerzon Texon, Gilbert Alfero (Malinak Ya Labi) Obispo) Jaclyn Jose, Julio Diaz, Baron Geisler, Patay Na Si Hesus (Francis de Veyra, Mark Jomari Angeles, Neil Ryan Sese, Mercedes Laccay and Nicholas Varela) Cabral, Andi Eigenmann, , Felix Roco, Mon Confiado, Maria Isabel Lopez, Rubi Ruiz, John Paul Duray (Ma’ Rosa) Jaclyn Jose, Chai Fonacier, Melde Montañez, Vincent Viado, Mailes Kanapi, Olive Nieto, Sheen Gener, Albert Chan Paran (Patay Na Si Hesus)

BEST FIRST FEATURE 2 Cool 2 Be 4gotten (Petersen Vargas) Malinak Ya Labi (Jose Abdel Langit)

Notes on Abbreviation: C: Cinematography; PD: Production Design; AD: Art Direction; SD: Set Decoration; CS: Costume; VE: Visual Effects; M: Music; S: Sound.

59 THE CIRCLE ng Film Desk ay binubuo ng mga miyembro ng akademya na sa loob ng matagal-tagal na ring panahon ay naging mga matalas na Atagamasid ng pelikulang Filipino. Galing sa iba’t ibang disiplina, linalapat nila sa pagsuri ng pelikula ang interdisiplinaryong lapit. Sa ganitong perspektiba, ang salitang “young” sa Young Critics Circle ay tumutukoy hindi sa literal na pakahulugan gaya ng edad kundi sa isang metaporikal na pag-unawa sa kabataang pananaw. Ang ibig sabihin, ang “young” ay tumutukoy sa pangangahas ng bago at sa giting ng pagsalungat.

The Film Desk of the Young Critics Circle is composed of members of academe who, through the years, have become attentive observers of Philippine cinema. Coming from various disciplines, they bring into the analysis of film an interdisciplinary approach. In this perspective, the word “young” in the Young Critics Circle pertains not to a literal mode of understanding as in age but rather to a metaphorical sense of appropriating youth. “Young” is construed as the daring of the new and the courage to be different.

Aristotle J. Atienza teaches language, literature, and popular culture in the Filipino Department at the Ateneo de Manila University. He is pursuing his Ph.D. in Philippine Studies at the University of the Philippines Diliman. He is co-editor (with Rolando B. Tolentino) of Ang Dagling Tagalog, 1903-1936 (2007).

Christian Jil R. Benitez is a faculty member of the Kagawaran ng Filipino, Ateneo de Manila University, where he graduated with an AB-MA in Filipino Literature. The locus of his research is time, as ecological and mythological assemblage, tropically articulated through history as metaphor. He has won a Palanca award for Tula (2015) and two UP Press awards for essays in English and Filipino (2016).

Emerald O. Flaviano is a Research Associate of the University of the Philippines Third World Studies Center. She is currently involved in a study on social memory in Mendiola while conducting her own research on Cinemalaya and Philippine independent cinema. Her research interests include political culture, popular culture, and Philippine film.

60 Patrick D. Flores is Professor of Art Studies at the University of the Philippines, which he chaired from 1997-2003, and Curator of the Vargas Museum in Manila. He is Adjunct Curator at the National Art Gallery, Singapore. He was selected by the Philippine government to curate the Philippine Pavilion of the 56th Venice Art Biennale in 2015. He was also one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999), Remarkable Collection: Art, History, and the National Museum (2006) and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010) and a member of the Advisory Board of the exhibition The Global Contemporary: Art Worlds After 1989 (2011) organized by the Center for Art and Media in Karlsruhe and member of the Guggenheim Museum’s Asian Art Council (2011). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011).

Tessa Maria Guazon is Assistant Professor at the Art Studies Department, University of the Philippines Diliman. Her research interests center on cities and culture, specifically art production in the context of urban development. She was recently awarded the Asian Public Intellectuals Fellowship for fieldwork in Thailand and Indonesia in 2014.

Lisa Ito-Tapang (Chair, 2017-2018) teaches art history and theory at the University of the Philippines College of Fine Arts (UP CFA). Her writings have appeared in Pananaw Philippine Journal of Visual Arts, Forum on Contemporary Art and Society, Asian Art News and Ctrl+P Journal of Contemporary Art, among others. She co-authored Without Walls: A Tour of Philippine Paintings at the Turn of the Millennium (2010). She holds a degree in Fine Arts (Art History) from the UP CFA and is currently completing a master’s degree in art studies at the UP College of Arts and Letters.

J Pilapil Jacobo teaches literature, theory and criticism, and cultural studies in the Departments of English and Filipino at the School of Humanities of the Ateneo de Manila University in Loyola Heights. She holds the A.B.-M.A. (2002-2003) in Filipino Literature from the Ateneo de Manila University, and the M.A. in Comparative Literary and Cultural Studies (2010) and the Ph.D. in Comparative Literature from the State University of New York at Stony Brook, which she completed through a Fulbright Scholarship (2011). She has published scholarly work is keen on inhabiting the cusp between tropology, particularly the rule and the resistance of metaphor, and tropicality, argued as a rubric of time. Jacobo is currently preparing a critical edition of Fruto del Prado’s Bicol translation (1867) of Modesto de Castro’s Urbana at Feliza (1864), to be published by the vanguard press of the Ateneo de Naga University. She is founding co-editor of Queer Southeast Asia: A Literary Journal of Transgressive Art.

61 Skilty C. Labastilla is a Research Associate at the Institute of Philippine Culture, Ateneo de Manila University where he is engaged in research on urban informal settlements, and children and youth. He also lectures at Ateneo’s Department of Sociology and Anthropology. He holds degrees in Anthropology and Social Development and has taught at U.P. Diliman, U.P. Mindanao, and La Trobe University.

Nonoy L. Lauzon is the Programmer for Screenings at the U.P. Film Institute. He has double degrees in Philosophy and Humanities from the University of the Philippines. He is a published film critic and has previously worked for a number of national newspapers including the Philippine Journal, People’s Journal and The Manila Times. He used to contribute a column for the old Mirror Weekly and now regularly writes for two of the country’s leading national tabloid dailies. He is currently pursuing an M.A. in Media Studies (Film) at the U.P. College of Mass Communication.

JPaul S. Manzanilla (on leave) taught communication, humanities, and Philippine arts courses at the University of the Philippines Manila and Filipino and history courses at the Ateneo de Manila University. He earned degrees in comparative literature and art history from the University of the Philippines and is engaged in research on the histories of photography, cinema, and television in the country. He is currently abroad for his doctorate with a research focus on Southeast Asian Visual Culture at the National University of Singapore.

Jema Pamintuan (on leave) obtained her PhD in Philippine Studies from UP Diliman and is currently an Assistant Professor at the School of Humanities, Ateneo de Manila University. She was a recipient of the Elisabeth Luce Moore Award for Outstanding Fellow (2012-2014) under the United Board Fellows Program in Asia for her research and work as a visiting fellow at Tunghai University, Taiwan (2013), and Georgetown University, USA (2014).

Jaime Oscar M. Salazar is a faculty member and graduate student of the Department of Art Studies at the University of the Philippines Diliman. He has received fellowships to national workshops on criticism, and his writing has appeared in academic and popular venues. He is part of the research team of the recently launched TutoK Freedom of Expression (FoE), a social network and online platform for collaborative art production and educational discussions on art. TutoK FoE (http://www.tutok.org) is a project of TutoK, an artists’ initiative.

62 The 28th Annual Circle Citations for Distinguished Achievement in Film is presented in cooperation with

UP Diliman Office for Initiatives in Culture and the Arts UP College of Arts and Letters UP Jorge B. Vargas Museum

A C K N O W L E D G M E N T S The Film Desk of the Young Critics Circle would like to thank the following for all the support:

UP Jorge B. Vargas Museum UP Department of Art Studies Kagawaran ng Filipino ng Pamantasang Ateneo de Manila Department of Theory, UP College of Fine Arts Dr. Cecille De La Paz (UPD-OICA) Pol del Mundo ClarkLui Enterprises Megasupply Carmina Sheilah E. Papa R. Jordan P. Santos Meryl Medel Randel Urbano and all YCC friends from media, academe and the arts

Film Desk of the Young Critics Circle, Current Members: Aristotle J. Atienza, Christian Jil R. Benitez , Emerald O. Flaviano, Patrick D. Flores, Tessa Maria T. Guazon, Lisa Ito, J. Pilapil Jacobo, Skilty C. Labastilla, Nonoy L. Lauzon, JPaul S. Manzanilla, Jema M. Pamintuan, Jaime Oscar M. Salazar.

Film Desk of the Young Critics Circle, Former Members: Romulo P. Baquiran, Jr., Melissa Contreras, Flaudette May V. Datuin, Joel David, Mike Feria, Noel D. Ferrer, Eulalio

63 R. Guieb III, Eloisa May P. Hernandez, Eileen C. Legaspi-Ramirez, Gerard R. A. Lico, Charlson Ong, James Rañeses, Jerry C. Respeto, Clare Salaveria, Neil Martial R. Santillan, Ariel N. Valerio, Ailyn A. Villamarin, Galileo S. Zafra, Choy Pangilinan.

Presidents, Young Critics Circle: Galileo S. Zafra (1996-1997); Romulo P. Baquiran, Jr. (1997-1998); Ariel N. Valerio (1998-1999); Noel D. Ferrer (1999-2000); Flaudette May V. Datuin (2000-2001); Patrick D. Flores (2001-2002); Nonoy L. Lauzon (2002-2003); Jerry C. Respeto (2003-2004); Neil Martial R. Santillan (2004-2005); Eileen Legaspi-Ramirez (2005-2006); Patrick D. Flores (2006-2007); Romulo P. Baquiran, Jr. (2007-2008); Galileo S. Zafra (2008-2009); J Pilapil Jacobo (2009-2010); Eulalio R. Guieb III (2010-2011); Eloisa May P. Hernandez (2011-2012); Tessa Maria T. Guazon (2012-2013); Skilty C. Labastilla (2013-2014); Jaime Oscar M. Salazar (2014-2015); Aristotle J. Atienza (2015-2016); Jema M. Pamintuan (2016-2017), Lisa Ito-Tapang (2017-2018)

Keynote Speakers, Annual Circle Citations for Distinguished Achievement in Film: Soledad S. Reyes (1990); Petronilo Bn. Daroy (1995); Justino Dormiendo (1996); Benilda Santos (1997); Ma. Luisa F. Torres Reyes (1998); Alice G. Guillermo (1999); Teresita Gimenez-Maceda (2000); Brenda V. Fajardo (2001); Basilio Esteban Villaruz (2002); Albina P. Fernandez (2003); Ramon P. Santos (2004); Virgilio S. Almario (2005); Eufracio C. Abaya (2006); Lilia Quindoza Santiago (2007); Nick Deocampo (2008); Tito Genova Valiente (2009); Oscar V. Campomanes (2010); Glecy Atienza (2011); Ricardo Abad (2012); Francis Gealogo (2013); Elizabeth L. Enriquez (2016); Zosimo Lee (2017); Jazmin B. Llana (2018).

Founding Members, Young Critics Circle: Mike Feria, Film and Theater Desks; Joy Barrios, Theater Desk; Jojo Buenconsejo, Dance Desk; Eric Caruncho, Music Desk; Melissa Contreras, Film and Theater Desks; Jaime Daroy, Music Desk; Joel David, Film Desk; Gin de Mesa, Visual Arts Desk; Patrick D. Flores, Film, Theater and Broadcast Arts Desks; Francine Y. Medina, Visual Arts Desk; Charlson Ong, Film and Literature Desks; Mozart A. T. Pastrano, Theater Desk; Danilo Reyes, Literature Desk; Antonio Tinio, Literature Desk.

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