The Film Desk of the Young Critics Circle The 27th Annual Circle Citations for Distinguished Achievement 2016in Film for + Sine Sipat: Recasting Roles and Images, Stars,Awards, and Criticism

Thursday, 27 April 2017 Jorge B. Vargas Museum University of the Philippines Roxas Avenue, UP Campus Diliman, Quezon City | 1 } 2 The 27th Annual Circle Citations for Distinguished Achievement in 2016Film for + Sine Sipat: Recasting Roles and Images, Stars, Awards, and Criticism

3 4 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.”

5 Sining ng Pelikula, Sining ng Pagsipat Jema M. Pamintuan

mabot sa halos 140 pelikula ang nailuwal sa taong 2016, kasama rito ang nagmula sa commercial releases, at higit pang dumaraming Uindependent film festivals sa bansa. Tulad ng mga nakaraang taon, masalimuot ang naging proseso sa pagtatapyas ng kabuuang bilang. Sa pamamagitan ng masususing talakayan, at di mabilang na palitan ng mga email, ay narating din ang long list na umabot sa labimpitong (17) pelikula. Higit pang sinala ito pagkatapos muling pagdaanan ang masinsing paglalatag ng kani-kaniyang argumentasyon sa mga pulong, upang makapagpanukala na ng short list na may siyam (9) na pelikula.

Hindi na bago sa aming pandinig ang komentong, “Bakit pa nagsusulat ng rebyu kung wala namang nagbabasa?” Komitment na ito ng pangkat ng Young Critics Circle (YCC) taun-taon; ang magsagawa ng praktis ng panunuri, at tangkaing maging aktibong kasangkot sa pagpapaunlad nito, na hindi lamang nauuwi sa pagbibigay ng gantimpala sa mga natatanging alagad ng pelikula. Nagbabakasakali pa ring sa pamamagitan ng mga diskursong nagsimula sa mga indibidwal na pag-uusisa at pagtataya, na humantong sa pangkatang diskusyon at pagdedebate, at pagka’y pagbubuo ng mga kritika, ay makapag-ambag sa patuloy na paghihimok na paghusayin at payabungin ang sining, kapwa ng pamemelikula at ng kritisismo.

6 Sa proseso ng pagtuklas sa husay at kontribusyon ng ilang piling pelikula sa taong 2016, hindi sinasadyang pangibabawin sa shortlist ang samu’t saring tinig at hulagway ng kababaihang haligi ng bukod-tanging mga naratibo; mula sa binukot ng Panay Bukidnon, matriyarka ng ekonomiyang underground ng lunsod, single mother na pasimuno ng road trip pa- Dumaguete, maestrang nasawi sa gitna ng politikal na banggaan, mga inang nag-aapuhap ng anak--anak na nawalay mula pagkabata at anak na naging desaparesido, hanggang sa mga nagdadalamhating babaeng naging tagapagpasya ng kapayapaan sa pagitan ng nagtutunggaliang pangkat sa Mindanao. Ito ang nakitang kalakasan ng pangkat sa mga pelikula na matagumpay na nakapagtanghal ng mga alegorya ng iba’t ibang ligalig ng kasalukuyan. Nakasalungguhit ang babae sa mga pelikula, at ang kaniyang birtud sa gitna ng mga kolektibong isyu ng sarili, pamilya at kaanak, pangkat, at bayan.

Tulad ng pakikipagsapalaran at matapang na pakikipagbuno ng mga babaeng naging bantayog ng mga piling pelikula ng taong ito, tanggap ng YCC ang atas na huwag mapagal sa hamon na tugunan ang iniharap sa aming mga sining, na alam naming sineryoso at pinagpaguran din ng mga tagalikha nito. Kimkim ang matalas na paglilimi, umaasa kaming masusustina at mapag-iibayo pa ang magkaagapay na tungkulin ng sining at kritika sa mga susunod na taon, lalo pa’t ang kritisismo sa mga pelikula ay ibinabalik lamang namin bilang kritisismo rin sa lipunang patuloy na humuhubog rito.

7 LONG WALK TO PEACE Skilty C. Labastilla

Women of the Weeping River Winner, Best Film (Sheron Dayoc) Winner, Best Achievement in Editing (Carlo Francisco Manatad) Winner, Best Performance (Laila Putli P. Ulao) Nominee, Best Screenplay (Sheron Dayoc) Nominee, Best Achievement in Cinematography and Visual Design (Rommel Sales [cinematography], Harley Alcasid [production design]) Nominee, Best Achievement in Sound and Aural Orchestration (Albert Michael Idioma and Immanuel Verona [sound], Kit Mendoza [music])

he penultimate scene of amidst the brambles in the woods. Women of the Weeping River Her family is embroiled in a bitter T(Sheron Dayoc, 2016) finds feud with a rival family, borne the protagonist, a young woman out of a land dispute, that has cost named Satra, heading towards dear lives from both sides, and the other side of the river in her Satra is intent on ending the cycle remote village in Sulu, her face on her own, against the wishes of gripped with a sense of purpose the men in her family who believe and urgency but her gait betraying that their maratabat (family honor a tinge of wariness as she moves and prestige) is at stake, and that

8 when life from one side is taken, realities, and connote that although any retaliation less than taking life there is a sliver of hope in ending from the other side is tantamount to cycles of inter-clan violence by showing weakness. recognizing the power of human agency, particularly of women, Unbeknownst to her, the person who are even more marginalized she intends to talk to, Shadiya, is in Muslim society, there is still the doing the exact same thing. Shadiya matter of larger structural issues that previously confronted Satra when need to be dealt with. her son was killed by the latter’s brothers as revenge for the death of Mindanao, particularly Muslim Satra’s husband. She told Satra then Mindanao, has for the longest time that she does not wish for anyone to been at the margins of the Philippine carry the pain that she feels, but that nation-state. Decades of political and her family has no plans on letting go economic exclusion brought chronic of the piece of land both families are poverty and disenfranchisement, fighting for. and the weak state gave rise to local elite families who can readily When both women finally meet challenge weak authority and towards the end of the film, they control to, for instance, source first warily size each other up, not firearms extra-legally and build knowing what the other will say private armies, as well as capture or do, then they stare at each other government resources for their own wordlessly for a good half-minute, selfish needs. their eyes saying everything they needed to say. Revenge killings, certainly, are not atypical in any small-scale The scene then cuts to the film’s society where family and kinship final scene: of several soldiers lying ties, instead of the state, are the dead in the mud and in their truck, main sources of authority. As the rain washing over their bodies, Wilfredo Magno Torres III points having just been ambushed by out in Rido: Clan Feuding and Conflict enemies. Management in Mindanao (2007), in societies where the state is weak, It is but fitting that these two scenes decision-making and enforcement come at the very end of the movie become more decentralized and – which on the surface is about the the provision of security is based repercussions of rido (blood feud) mainly on self-help. In the same on the families involved – as they volume, Gerard Rixhon argued that reflect the intricacies of present-day the turbulent history of Sulu such Muslim Mindanao sociopolitical as numerous military occupations

9 and incursions from foreign consults her mother, Nuryama, powers, its (forced) inclusion into in a lovely quiet scene where the Philippine territory, “divisive two women sit by a clearing in the politics, widespread corruption, woods surrounded by wild yellow inadequate justice system, and daisies. Satra, tired of her life-long government neglect” have led the acquiescence to the men in her Tausug to resort to a private form of life (her father and brothers), asks justice called mamauli (revenge). Nuryama if there is something either of them can do to finally put an end The film effectively shows this to the senseless cycle of violence weak hold of the state on families they find themselves in. Nuryama, by emphasizing the remoteness of having lived her whole life in the the dwelling of Satra and her family shadow of her husband, naturally from the town center, with them expresses hesitation, telling Satra transporting what few farm produce that whatever the two of them they have on two baskets slung decide to do would mean disobeying on a cow and walking for hours Mustafa. This scene obviously to the poblacion, where they still presages the “staredown” scene I need to plead with traders to give described earlier, when Satra finally them a fair price. When the land finds the courage to defy her father dispute between Satra’s family and for fear of losing even more loved the Ismaels explode into a bloody ones. encounter where Satra’s husband is killed, the decision whether or not The fact that the film does not to exact mamauli falls on the men in conclude with a pat, optimistic the family, particularly on Mustafa, ending is testament to Dayoc’s the family patriarch, a bearer of a keen understanding of the Muslim Tausug culture where traditional Mindanao context. In 2015, he made values of bravery and masculinity the documentary The Crescent Rising, are highly prized. It does not take which highlights the narratives long before the vengeance killings of men and women caught in the transpire, and this time the lives of quagmire of war and poverty in two young boys from both sides are Muslim Mindanao, and posits that tragically cut short. there are no victors in war. Even in making viewers empathize As the men in the family prepare for with marginalized Tausug families more bloodshed by selling treasured through Women of the Weeping family heirlooms to acquire more River, Dayoc does not glorify them long arms and Satra’s youngest either. In confronting viewers with brother gets trained in shooting that stark parting scene of military a rifle, the deeply troubled Satra soldiers lying lifeless in the rain

10 and mud, he also reminds everyone engagements go a long way in that there is no single solution to easing the region’s poor and violence, be they inter-clan or inter- marginalized out of their suffering. ethnic. Even if families realize the futility of the never-ending feuds; Women of the Weeping River is even if men and women can find outstanding not only because of solutions on their own or with Dayoc’s judicious handling of the help of mediators; and even if relevant themes (he also wrote traditional values of maratabat, of the script) but even more so masculinity, and of bravery will because of his exceptional grasp eventually be harnessed for the of film language, particularly in greater good and not for familial trusting that the scenes will work one-upmanship, the state still has more effectively with minimal supreme responsibility for the musical score, and by letting the welfare of the long-suffering Moro camera patiently capture the groups. characters’ inner turmoil through intelligent mise-en-scène and The forms that this state symbolic imagery. It helps that the responsibility – for long-lasting film’s actors, mostly amateur, all peace and equitable development – deliver superb lived-in portrayals, will take are obviously varied and particularly newcomer Laila Ulao multi-pronged, and should involve as Satra. every group that has a stake. The enactment and implementation of With just four feature-length films the Comprehensive Agreement on under his belt (the other two are the Bangsamoro (the film shows Halaw, 2010; and Bukod Kang a scene where Satra witnesses Pinagpala, 2015), Dayoc is quickly a rally of mostly women and emerging as one of the country’s children Muslims in the town most relevant and perceptive center chanting for the passage of filmmakers. As regional films the Bangsamoro Basic Law) will continue to make their mark in be a long drawn-out process but, Philippine cinema, I’m positive his in the meantime, different modes name can only shine brighter. of local participatory development

References: Rixhon, G. (2007) ‘Tausug and Corsican Clan Feuding: A Comparative Study’, Rido: Clan Feuding and Conflict Management in Mindanao. Makati City: The Asia Foundation, pp. 304-324. Torres III, W.M. (2007) ‘Introduction’, Rido: Clan Feuding and Conflict Management in Mindanao. Makati City: The Asia Foundation, pp. 11-35.

11 MUSINGS ON THE MUNDANE Jaime Oscar M. Salazar

Mrs. Winner, Best Screenplay (Ralston Jover) Nominee, Best Film (Adolfo Alix, Jr.) Nominee, Best Performance (Elizabeth Oropesa) Nominee, Best Performance (Daria Ramirez) Nominee, Best Achievement in Cinematography and Visual Design (Albert Banzon [cinematography], Arthur Maningas [production design])

he appellation “Mrs.” is actually affords to the said woman. referred to as a courtesy title, Mrs. (2016), directed by Adolfo Alix, Tbut the woman who bears Jr., engages the issues with which it, however willingly or happily, this form of address is fraught and submits to the effacement of her resonates by way of exploring a birth name and the subordination complex set relationships—sororal, of her personhood to her marital adversarial, filial, mentorial, and (and, sometimes, parental) status—a platonic—between women in the highly ritualized and widely socially course of a relatively spare drama. accepted process that deserves greater scrutiny as to the degree Chief among these relationships of respect or consideration that it is that between a pensioner

12 recently recovered from a bout of way, as unwavering as Virgie. When hospitalization, Virgie (Elizabeth Delia discloses her plan to marry Oropesa), and her resident caretaker, her lover at the forthcoming mass Delia (Lotlot De Leon). The house wedding ceremony sponsored by that they inhabit, overly large for the local government—following two people and a gaggle of dogs and the acknowledgement, prompted cats, shows many signs of wear and by Virgie, that she is three months tear, in connection not only with pregnant—she is quick to provide its age but also with its being built assurance that she aims to stay in over an active fault line—running Virgie’s service. In the face of Virgie’s along the walls are cracks attesting to reluctance at this proposition, rooted structural damage. in the notion that a wife ought to defer to her husband, Delia wears In spite of the dilapidation that Virgie down with persistent pleading. surrounds her, Virgie intends to continue living there, keeping faith Oropesa turns in a fine performance with the memory of her father, who as Virgie, displaying a formidability had bequeathed the house to her, that is leavened with tenderness; and clinging to the belief that her whenever she is alone in the frame, son, Sonny Boy (Sebastian Castro), a which is often, she proves more than communist guerilla who disappeared capable of compelling attention with years ago, will surface one day soon. countenance and gesture. De Leon, Her determination, if not obduracy, who initially essays her role as a to remain draws her into intermittent kind of comic foil to Virgie, with an bouts of antagonism with her almost bovine naïveté, succeeds in relatives. Her younger sister, Glenda making of Delia a figure of tragedy, (Daria Ramirez), the legatee of the heartrending and horrifying. land on which the house stands, is eager to sell off her inheritance in What is particularly striking about order to mitigate the consequences Mrs. is its penchant for meandering of her spendthrift ways, not least in and around a range of interiors— among them the large debt to Virgie of houses, of restaurants, of a that she has racked up over several barangay hall—and dwelling at years. Virgie’s daughters, Marina length on the mundane actions (Rosanna Roces) and Jenny (Angelina and interactions that its characters Kanapi), believe that she would be perform there. These mundanities better off staying elsewhere. point to well-established, and, at times, tedious routines in which Delia, who for two decades has men are, for the most part, spectral helped Virgie around the house and presences with varying degrees kept her company, is, in her own of influence. Virgie and Glenda

13 rehearse longstanding resentments and this is what constitutes its arising from Glenda’s waywardness, achievement. With its sustained, financial and otherwise, and Virgie’s painstaking focus on how its stubbornness. Virgie and Marina characters go about the dailiness squabble, over the telephone and of their existence—the use of in person, about Marina’s seeming lingering close-up shots to highlight deficiency of discernment in her the smallest flickers of thought and choices: of partner, the layabout feeling is notable in this regard— Benjo (Arvic Tan); of religion, by the film renders anew the feminist joining a cult; and even of how slogan, “The personal is political.” It best to treat the ailing Justin, the challenges viewers to reevaluate the “imported” cat that is beloved by intertwined concepts of “domesticity” Josel, Marina’s young daughter. and “femininity”, and their associated Jenny, who resides in Vancouver, tensions and contradictions, as they Canada, with her husband and two play out, are negotiated with, or are children, tries to coax her mother resisted in the fluid, contentious to join her permanently, as an realm of quotidian lived experience. immigrant, during one of their video How do institutions like marriage chats. Virgie visits her friend Agnes reinforce and perpetuate prevailing (Anita Linda), an elderly activist relations of power, especially in who has also lost family members to terms of gender and class? How does state-sanctioned violence, to check on state repression manifest itself within Agnes’s health and to exchange news. and affect the private sphere, and Virgie and Delia carry out household how can this sphere be re-imagined chores—for instance, watering the as an arena for broader struggles? plants, sweeping the yard, looking How can women establish networks after the pets, and preparing meals. of support between one another that circumvent, slip past, or subvert— Even as Mrs. runs the risk of however limitedly and fleetingly— narrative unwieldiness, the film the social mechanisms that seek to insists on the immersive moment, surveil and control their bodies, their rather than the propulsive event, homes, and their lives?

14 BRIDGING FOLKLORE AND REALITY Lisa Ito

Ang Tulay ng San Sebastian Winner, Best Achievement in Sound and Aural Orchestration (Jess Carlos [sound], Hiroko Nagai [music]) Nominee, Best Screenplay (Alvin Yapan) Nominee, Best Performance (Joem Bascon and Sandino Martin [duo])

ositioned within the genre of A nurse (Francis) and an ambulance horror film, Ang Tulay ng San driver (Bong), respectively played PSebastian (Alvin Yapan, 2016) by Sandino Martin and Joel Bascon, opens on an ominous note. The are returning home to the province tale takes place, after all, on a Good after bringing a patient to Manila Friday: that one day of the Lenten for surgery. As darkness settles in season when, in Philippine folk during the ride, the tired and sleep- Catholicism, malevolent spirits are deprived pair amuse themselves by most manifest. sharing versions of ghost stories,

15 superstitions and urban legends. The technical execution of the story, Their idle exchanges drift between similarly, spans a broad range of weary recollections and irreverent merits and demerits. The film, for banter, drifting away from the instance, has been panned in the whispered weight of their ward’s press for its incredulously awkward parting warning: take care. execution of CGI effects. On the other hand, it is also notable for its Their journey comes to sudden convincing employment of color stop before a rural bridge called grading to simulate the night scenes San Sebastian, where a series of wherein the story unfolds. unfortunate events unfold in quick succession. As midnight approaches, Such visual unevenness is threaded the pair attempt to escape the through and overridden by its vicinity, as their tales, one by one, notable performances. Martin spring to life and spiral out of and Bascon effectively portray control. complementary roles as a duo, highlighting the psychological tension The film begins with a productive and dilemmas that fear draws out in note of tension through the use the individual. The film’s seamless of recurring motifs during the wielding of sound and music also first half. Upon reaching the preserves and prolongs the suspense bridge, however, this cohesiveness established early on in the narrative. disintegrates and is dispersed Fresh aural juxtapositions and through a pastiche of malevolent counterpoints arise with elements tropes: apparitions solitary and such as the original musical score processional, mendicant ghouls, using the traditional Japanese killers of various persuasions, koto, the mournful dirge of a local undead monsters, and encounters marching band, and ambient sounds with the diabolic. by teeming presences beyond the bridge.

16 The work has much to offer dichotomies—between folklore beyond its surreal narrative and and modernity, the old and the technical exploration. Ang Tulay new, countryside and metropolis, ng San Sebastian and other similar superstition and reason, for instance. productions underscore how, on a The YCC took note of this tendency larger and longer scale of practice, before in the publication Sining ng the genre of Philippine horror film Sineng Filipino (2009), noting the has traditionally appropriated prevalence of such in films of the influences from folklore and history, past decade: superstition and urban legend. This filmic fascination with the multo, “Nitong mga huling taon ay aswang and other supernatural kapansin-pansin ang pagbibigay- beings, for instance, can be seen tuon sa mga tinataguriang throughout early cinematic “modernong” kabataan na productions—Ang Aswang (1933), “nagbabakasyon” sa probinsiya the first talking picture produced in upang sinasadya o di-sinasadyang the Philippines, is one often cited harapin ang makaluma subalit pre-war example—to more current konteporaneoung mundo ng releases such as the Shake, Rattle mga aswang at maligno, ng mga and Roll franchise flourishing since espirito at totoong tao, ng hiwaga the 1980s. at mga lantad na realidad,..Sa mga sineng ito, ang kababalaghan ay It is interesting that Yapan chooses idinidikit sa mga liblib na lugar, the night of Good Friday as the at ang mga lugar na ito ay mga opportune moment to reenact this lunan ng adventure o “happening” tendency. The day marking Christ’s ng mga sinasabing makabagong death, here, becomes a portal for kabataan. Mahalagang pag- the performative resurrection of aralan ang ginagawang makitid folkloric figures. These residual and at simplistikong paghahati ng resistant presences, delegitimized moderno at tradisyunal, ng luma at during the phases of colonial bago.” assimilation and forced modernity, still lurk in the borders between city Does the film Ang Tulay ng San and province: in roadsides, rivers Sebastian go the route of mirroring and forests untouched by light and such binaries, in this tale of a rural infrastructural expansion. bridge? Perhaps, but not entirely: for while it adapts the surface trappings On the other hand, it is also noted of the genre, it also consciously that the genre of horror is also introduces rogue elements to alter its fertile ground for the perpetuation configurations on a more structural and propagation of problematic level.

17 newer apparitions stemming from the violent aftermaths of suicides, vehicular collisions, roadside hold-ups, massacres, rebellions and the like. The overall effect of such malevolent overload may also be the most redemptive quality of the film. For it underscores how beliefs from the distant past can intersect and interact with contemporary phenomenon such as collisions, crime, and militarization: some For one, that the characters are not primary vehicles for present-day clueless city slickers hieing off to horror, terror and loss for the some adventure in the unknown people in Philippine society. hinterlands, but are instead locals returning home to the province The on-site location of the film — a and finding themselves in an Spanish colonial-era stone bridge lying inescapable portal casts some sense parallel to a modern concrete one of psychological ambiguity to their in Tayabas, Quezon— furthermore subject position. The transition from makes material and metaphorical the metropolis to provincial highway realization of how past and present should be familiar territory to them run parallel to each other. The dual but isn’t: instead, horror lies in structure serves as both setting and how home and its intimate locality symbol for the necessity of pagtawid, inexplicably slips further out of the act of connecting and crossing reach. such demarcated states. This act brings one to the final point. Here, Secondly, much of the medley the duo’s last desperate crossing ends of supernatural characters they on an ambiguous note, concluding encounter are also derived the journey but subtly putting into from urban legends and true question the dawning of day and the events: spectral remnants of resurrection as the final destination real-tragedies for whom justice of it all. remains elusive to date. Mixed up with more ancient tales are

18 THE EXACTING FOREST AND THE 1 FORGIVABLE MAN Emerald O. Flaviano

Baboy Halas Winner, Best Achievement in Cinematography and Visual Design (Raphael Meting and Mark Limbaga [cinematography], Joel Geolamen [production design]) Nominee, Best Film (Bagane Fiola)

aboy Halas: Wailings in the the urban audience, the forest is Forest (2016), Bagane Fiola’s fearsome and threatening even in its B second film, is the narratively flattened form. The forest in profile—a spare imagination of a life in an landscape—immediately introduces unsullied earth. Centering on the the engulfing Other of Mampog and story of Mampog the boar hunter, the rest of the Matigsalug people. the film attempts to find out how Inside the seemingly impenetrable a life that relies so much on the thicket, the forest is revealed in its natural world is possible. claustrophobic glory. Raphael Meting and Mark Limbaga’s camera cuts A landscape of the leafy and befogged its own path in the forest, following heights of the mountains of Davao Mampog’s hunts through dense backdrops the film’s title card. To foliage, and the thick undergrowth

19 beneath which hide treacherously the hooting alimokon (wild pigeon)), slippery rocks. The skillful handling and inanimate substances (the fire). of the camera imagines an ordered In the most remarked upon scene world and makes us believe that of Baboy Halas, Mampog lights a Mampog’s purposeful meandering small fire to warm a cold night through a thick, claustrophobic forest inside a cave, keeping his end of a can be followed through a navigable, “dialogue” with the Cave Dweller. albeit alien, space. As the audience is glued to the hunter’s struggle for fire, we are also This ordering mirrors the Matigsalug reminded how negligible human people’s attempts to negotiate existence is in the riot of life in the with their wild home: ancient forest: “It is much to ask, but do keep forest dwellers are appeased and us alive,” Mampog pleads to the cold cajoled, a hooting owl is considered blackness of the cave. a bad omen, and a white pig is a disturbance in the order of things. This smallness is somewhat For the forest is the only source of amplified in Baboy Halas’ Mampog’s family’s sustenance. Wild unidimensional characters: there pigs are hunted, freshwater fish and is nothing much that we know toads are trapped in streams, and about how Mampog thinks about wild crops are foraged, but in no their way of life, or how his wives other way will the natural world be think about the family’s constant bent to human needs and desires. struggle for food. Mampog’s younger Everything is appealed to the forest wife looks off into the distance, dwellers, animals (the dog Bugtong, apparently deep in thought about

20 To an outsider, Baboy Halas feels like a documentary exposition of the everyday life of the Matigsalug. Isolating the Matigsalug from the urban lowlands, the film conceives of a people who live peacefully in an unsullied earth, with no modern clothes and tools, reliant entirely on what the forest provides. Yet this isolation can be anything but literally real. Baboy Halas is set in Sitio Maharlika, Barangay Baganihan, Marilog District in Davao City.2 Baganihan is known for its cold climate, and is a familiar haunt for Davaoeños seeking to escape the nightmare explaining the cause the heat and bustle of the city. This of her husband’s recently disturbed imagined isolation in Baboy Halas behavior, but these thoughts are gathers special significance, a year up for anyone to guess. This denial after reports of harassment and of revelation can be read, on the killing of Lumads in Mindanao one hand, as signifying an ethical broke national news in August to decision to maintain a respectful October 2015. Mampog and his distance between filmmaker and family live undisturbed in forests subjects. On the other hand, it also where the Matigsalug have been asks us to connect with Mampog on living for generations, belying a different level. Clearly, Mampog the systematic and concerted and his people do not struggle with efforts of the state and mining the forest to live, but they negotiate capital to terrorize communities in a reciprocal relationship. for their ancestral lands. But Fiola Mampog’s transformation into a chooses not to foreground this and boar can be read, among other instead presents the Matigsalug things, as settling scores—the hunter as a community in its own, not pays for his hunt by becoming the necessarily almost always defined hunted. This need for equilibrium by their subjection; in an interview is echoed in the formal laws of with Davao Today he reveals that the the Matigsalug, as revealed by the film’s narrative was largely drawn settling of dispute between two from the stories the Matigsalug communities. Brass gongs and told him.3 Though these stories are horses are exchanged over civil largely about privation and want, discourse, tobacco, and brew. the Matigsalug are nevertheless

21 active agents in their lives—in their opportunities to work for a living negotiation with an indifferent in the bayan are far more reliable natural world, in settling community than the fruits of a hunt. Faced disputes, in choosing to stay in the with a choice, Mampog does what mountains and refuse the allure he has always done and “kills” the of the plains. The Matigsalug white pig, desperate for meat for themselves act out their stories, and his family. He consequently loses the uneven performances—some his grip on reality: the white pig (if were indifferent, while some were there ever really was one) is still engaged (as with the expansive alive and well, but visible only to Du)—assert each nonprofessional him; the white pig transforms into actor’s own understanding of his/her a mysterious white figure (a forest participation in a film representing dweller?); and he cuts down men their way of life. who had eaten the pig roasted. Mampog has fallen out of favor with In a sense, the white domesticated the forest, which then denies him pig that Mampog shoots down meaning. Only his metamorphosis stands for the tamable life that the will reconcile—indeed, literally lowlands offer. Feeding a family reincorporate—Mampog again with would hypothetically be easier as the forest.

1 A previous version of this review was edited for factual accuracy. 2 Zea Io Ming C. Capistrano, “‘Baboy Halas’: Davao’s indie film heads to Netherlands film fest,” Davao Today, 8 January 2017 . 3 Ibid.

22 NORTHERN NOCTURNE J Pilapil Jacobo

Malinak Ya Labi Winner, Best First Feature Nominee, Best Film (Jose Abdel B. Langit) Nominee, Best Screenplay (Jose Abdel B. Langit) Nominee, Best Achievement in Editing (Gilbert Obispo) Nominee, Best Achievement in Sound and Aural Orchestration (Gilbert Obispo [sound], Emerzon Texon [music]) Nominee, Best Performance (Luz Fernandez) Nominee, Best Performance (Allen Dizon, Angeline Quinto, Luz Fernandez, Richard Quan, Dexter Doria, Menggie Cobarrubias, Marcus Madrigal, Althea Vega, Timothy Castillo, Dante Balois, Tabs Sumulong, Raul Tamayo, Shiela Paragas, Karla Zabala, Angela Alfero [ensemble])

f there is any inflection of cinema from a singular location. What else that can grasp the truth of the can intuit the idiom of a zone but Itropics, no other perspective can a vernacular audition of the world lay claim to the apprehension but that protects the rapture of place a film from the region, or from or and at the same time incites the a province or district that essays rhapsodic instance to vanish at the the particularity of filmmaking time of enravishment?

23 Jose Abdel Langit’s Malinak Ya Labi and open up the discourse of the is the first Pangasinan narrative tropical time that eviscerates what film, and it may also be the first is commonplace in a scopophiliac contemporary Filipino motion relation to the tropical image. picture to have understood what it means to be situated in the equatorial Visuality is further abducted by the tropics, or at least from the latitude contiguity that is demanded as soon of, let’s say, Binobolinao. And yet, as the “linak” turns opaque, into while the truth that is disclosed as “labi”; the negative is attracted to folk may be misconstrued as always itself, and yet the coupling does not already torrid, the region of the accumulate into absence. Malinak Ya ravage is demonstrated as something Labi demarcates its region of ravage beyond the sweetness of summer as a northern nocturne, in the or the melancholy of monsoon. The silence of salt, through the fioriture moment of the tropic is night. And its of ferment. How does a saltflower site is northern. bloom under the Pangasinan moon?

If the Kapampangan poetic of Ari: As in Ari, we don’t get to hear the song My Life With A King is premised of the folk till the end, but Malinak on Atin Cu Pung Singsing, Langit’s rigorously frames the sonorous Malinak Ya Labi affirms that the sensibility of the film. The rubric of regional film can only ground its the “silent night” transposes itself vision on folk tonality and the through the various tonal themes dissonances that can be heard as framing episodes of the narrative. it runs contrapuntally along the The most dramatic of these musical syncopations of the modern. incarnations is an operatic piece scored in the middle of a riot one Some translations of the condition of carnival night. I do not have access to “linak” may gesture toward a state the Pangasinan lyric right now (that of “peacefulness,” but the film insists would enable me to engage the music on a more fundamental supplement philologically), but the translation to music: “silence.” However, unlike of the aria sung by a spinto refers Adolf Alix’s Kalayaan, where the to “night” conceiving “daylight”; a interval colonizes the auditory “star” as a “smile of the dark”; and landscape until cinema itself is aurally ultimately, the lunar “heart” eclipsing fixated with its own chiasmic duress, into its balsamic “night.” What Malinak Ya Labi accepts silence as logic of the trope would subsume a principle of sound itself, where solarity under all things umbral? The voice, rhythm, noise are habituated to afternoon in the southern manor as imagine a sense of ambience, answer axiomatic moment of the languorous what surrounds the tropical world, dalliance no longer constitutes

24 the pivot of the tropic day. From a defines “bagat” as “sacrificio, ofrenda, promontory along the narrowest convite.” The colonial lexicon carries northern strait, Malinak Ya Labi the divinity of the present in the celebrates the gibbous event! Latin senses of “sacrificus” (from sacer: holy) and “offere” (to God) as Pangasinan tropicality supervenes dimensions of the Pangasinan gift the possibility of romance and of that is “bagat,” while the sense of course an erotic with the premise community in “convivium” enlarges of “bagat,” the blood sacrifice that the sacrifice/offering as tribal, a pact is offered to an edifice so that the made by the collective on behalf of spirits won’t imperil the integrity its members; as a gift whose scale is of building. The source of the blood total, “bagat,” pace Marcel Mauss, is is decidedly animal, but Malinak Ya indeed potlatch. If what is served in Labi complicates the matter by telling the banquet is none the less human a story of how a child was stolen on blood, who sits at the head of the the eve of the feast of Saint Michael table? God? the Archangel, and whose body was left as “bagat” to inaugurate a We are told about the hours leading bridge connecting a quaint isle and to the child’s death through shifting the Pangasinan mainland. The gift is perspectives arrayed to us in a series itself poison; and the time given in of intertwined vignettes on the lives exchange for the toxin can no longer of certain figures in the town of deceive borrowed life. Silent is the Putot (Severed): Domingo, husband northern night, and the tropical of carnival mermaid; Amanda, naïve truth it can only reveal is terminal. but devoted schoolteacher; Salvador, The moon waxes red for the death sweet-talking soldier; Silvano, of an innocent. Welcome to the saltmaker; Teofilo, fortune teller; and necrotropics! Emmanuel, who becomes the “bagat.”

Lorenzo Fernandez Cosgaya’s A common figure in these tales of the Diccionario Pangasinan-Español (1865) Pangasinan everyday is Carmen, the

25 collector of bets who is grandmother ermen ya ag bibiten). To protect to Emmanuel and wife to Teofilo. We the memory of the love is the point never know whether Carmen finds of loving (in fact, in the absence Emmanuel’s body, but she navigates of the beloved, to remember one a day in the town attending wakes performs the requisite passion), and requiem masses, while gossiping and remembrance possesses an about the dead and speculating on acumen that might transcend the how certain numerical combinations incipience of death (No nodnonoten on death instances might spell good ko ray samit day ugalim / Agtaka fortune for the living. As we follow nalingwanan, anggad kaoyos na through the forlorn lives of the folk, bilay). Jose Abdel Langit’s Malinak we discover that deaths of children, Ya Labi transforms the song of his young women, and old men have folk into an elegy; the film becomes been random and regular in Putot a work of mourning. Langit’s grief is town, and somehow, the storytelling crystalline, like the salt of his earth. persuades us to realize that everyone If the gift that must be received is has been complicit with a culture death, the only way to love is to of impunity. The necrotropic has refuse forgetting. “Triste tropiques,” seeped into habit. again and again. And how lovely is the loneliness! One includes death in As a folk song, Malinak Ya Labi acknowledging life’s passage; time describes how on a “silent night,” is attenuated, as in the salt of the someone awakes with a longing fish that is made pure inside the jar for a beloved long absent from that houses the ferment. Within that the dreamer’s life. The desire does ecliptic space, the universe is always not debilitate, however, as the turning, darkly, into the vast silence, remembrance banishes sorrow where love is most touching: “Ta pilit from the heart (Napunaslan ami’y na pusok ya sica lay amamayoen.”

26 PALIT-PISO, PALIT-ULO Jema M. Pamintuan

Ma’ Rosa Nominee, Best Film (Brillante Ma. Mendoza) Nominee, Best Screenplay (Troy Espiritu) Nominee, Best Achievement in Cinematography and Visual Design (Odyssey Flores [cinematography], Brillante Ma. Mendoza [production design]) Nominee, Best Achievement in Editing (Diego Marx Dobles) Nominee, Best Achievement in Sound and Aural Orchestration (Albert Michael Idioma [sound], Teresa Barrozo [music]) Nominee, Best Performance (Jaclyn Jose) Nominee, Best Performance (Jaclyn Jose, Julio Diaz, Baron Geisler, Jomari Angeles, Neil Ryan Sese, Mercedes Cabral, Andi Eigenmann, Mark Anthony Fernandez, Felix Roco, Mon Confiado, Maria Isabel Lopez, Rubi Ruiz, John Paul Duray [ensemble])

etalyadong inilahad ng at katiwalian. Nagsimula ang lahat sa pelikulang Ma’ Rosa ni isang transaksyon sa grocery. Kasama DBrillante Ma. Mendoza ang ni Rosa (Jaclyn Jose) ang anak niyang iba’t ibang bersiyon at antas ng si Erwin (Jomari Angeles) na namili pangangapital, na umiiral sa isang ng mga komoditing ibebenta niya ekonomiyang batbat ng iregularidad nang tingian sa kaniyang sari-sari

27 store. Kulang ng dalawampu’t limang tinatalastas ng iba’t ibang hulagway. sentimos ang sukli sa kaniya ng Sa halip na ipakita ang mga barung- kahera, subalit hindi ito pinalampas barong na nakahanay sa mga ni Rosa. Malinaw ang pagpapakilala kalyeng dinaraanan, nagtuon ang ng pelikula sa karakter ni Rosa; kamera sa tila walang katapusan matalas at mautak pagdating sa at sala-salabid na electric wiring kuwentahan, kaya bagaman nakiusap na natatanaw sa labas ng bintana ang kahera ay hindi muna nagpatalo ng taxi, at sapat na ang kapal, si Rosa. At saka lamang niya kinuha dami, pagkabuhul-buhol at sikip ang iniabot na ilang pirasong kendi ng magkakadikit na wiring na ng kahera kapalit ng hindi naisukling ito para ilarawan ang masisikip barya. Ibinadya ng eksena ang ding mga daan at kabahayan ng iinugang tesis ng pelikula hinggil sa makikitid na eskinita ng Maynila, dalumat at istratehiyang kaakibat ng kung saan naroon ang tahanan ni mga kalakal, palitan, at kontratang Rosa. Dito mabibigyang kabatiran nagpapaandar sa komunidad ni Rosa. ang matrix ng masalimuot na mga ugnayang bumubuo sa ekonomiya Sa pagsakay nina Rosa sa taxi at industriyang underground na ay dadalhin ng kamera ang kinasasangkutan ni Rosa. At dahil manonood sa kahabaan ng mga underground, malaki ang posibilidad kalye ng kalunsurang babaybayin ng kawalan ng istabilisasyon nito. ng sasakyan. Mahusay ang kamera ni Odyssey Flores na Sa kabuuan ng pelikula ay isinalaysay nagdala sa esensya at kabuluhan ng kamera at tunog ang samu’t ng sinematograpiya sa isa pang saring paraan at pinagkukunan ng natatanging antas ng representasyon kabuhayan ng maralitang urban at elaborasyon, sa naratibong na espasyo, rehistrado man o hindi

28 ang mga negosyong ito. Mula sa mga May listahan din ng mga pangalan ng munting sari-sari store, rentahan kontak si Rosa na nakasulat sa isang ng internet sa mababang halaga notebook at nakatago sa isa sa mga (pisonet), pagbenta ng mga pagkain eskaparate ng kaniyang tindahan. sa kalye, tulad ng betamax, isaw, fishball, hanggang sa iba pang paraan Nagsagawa ng raid ang mga pulis, ng pagkita ng salapi—sugal gamit ang at hinuli sina Rosa at Nestor. mga baraha, paluwagan, at pautang Isinakay ng mga pulis sina Rosa at (5-6). Pinaarkila ng panganay na Nestor sa maliit na dyip. Dadalhin anak ni Rosa na si Jackson (Felix naman ng kamera ang manonood Roco) ang kanilang karaoke machine. palayo sa tahanan, palayo sa Masigla ang komunidad, umangkas komunidad ni Rosa. Wala na ang pa ang maiingay na usapan ng mga mga pamilyar na tunog, amoy, usok residente, kantahan mula sa karaoke mula sa mga ibinebentang pagkain machine, sa gitna ng mga bulyaw sa kalye. Ikukuwento ngayon ng at utos ni Rosa sa asawang si Nestor kamerang nakafokus sa mukha (Julio Diaz) at mga anak. ni Rosa kung paanong nagbago na ang disposisyon nito, malayo Matutuklasang sa likod ng inosenteng sa madiskarteng Rosa sa grocery. sari-sari store ni Rosa ay dumodoble Sa mga tahimik na eksena tulad kara rin ito bilang bentahan ng nito lumilitaw ang natatanging ipinagbabawal na droga. Gaya ng mga pagtatanghal ng aktres na si Jaclyn kendi at merchandise na ibinebenta Jose. Umid na ang Rosa na kani- nang tingian, ay ganoon din ang kanina lamang ay matalim ang mga droga na inilalagay sa maliliit dilang nagbibilin sa mga anak. na sisidlang plastik at ibinebenta sa Mula sa dyip ay matatanaw ang ilang mga kontak ni Rosa. Mabisang isang pamilyang nagtutulungan sa naiparating ng pelikula ang taktika pagbuhat at pagsasaayos ng mga nina Rosa sa pangalawa nilang bote ng softdrinks, at ang iba’t ibang negosyo. Walang formalidad, walang suson ng pangungusap ng mukha business permit, subalit may sariling ni Rosa. Sa ilang segundong iyon sistema at kalakaran sa pagpapatakbo na pagkakatitig ni Rosa sa pamilya nito. Dito ay may mga “ID” at animo’y mababanaagan kung “passcode” na alam at sinusunod paanong mas ibig na lang sana niya ng mga nagbebenta/kliyente para harapin ang pagod sa pagsasaayos masigurong tama ang kinakausap o at pagsasalansan ng mga ibebenta, kontak. Isinilid ni Nestor sa pakete at pag-imbentaryo sa mga ito. Pagkat ng sigarilyo ang maliit na plastik na alam niya kung paano ito gawin, at may lamang droga (mga iilang gramo alam niyang matatapos din ito, kaysa lamang ito) at iniabot sa bumibili nito harapin itong kawalang katiyakan pagkatapos sambitin ang “passcode.” ng kanilang pagkaaresto.

29 Mainam kung paano isinasangkot ng presyo ng salita at pangalan. Maayos kamera ang manonood, halimbawa na nabigyang-artikulasyon ng mga sa eksenang animo’y nakasunod eksena ang kaselanan ng negosasyon, lamang ito sa tila walang katapusang na katulad ng hanapbuhay ni Rosa paglalakad ng mga naaresto papasok at ilang kapitbahay, ay iregular din, sa presinto. Nilampasan nila ang at hindi opisyal na nakatala. Ang presinto, pasikip nang pasikip ang ikinaiba rito, ay iisang panig lamang mga pasilyong dinaraanan nina Rosa, ang may kapangyarihang magpasya ibang-iba na sa pamilyar na mga at magdikta ng mga kondisyon at eskinita ng kaniyang komunidad, katumbas ng pagpapalaya sa mga ang komunidad kung saan alam ni naaresto. Kinakatawan ng kuwartong Rosa kung paano tutugon, at kung ito, ng under-the-table na set-up paano hindi malalamangan. Pero ng mga pulis ang isang arena na sa tagóng kuwarto kung saan sila di tiyak, at mabilis na nagbabago. dinala ng mga pulis, tantyado at Ni hindi rin pormal na nakalista kalkulado ang kaniyang mga galaw sa police log ang pangalan nina at salita. Mapahahalagahan ang mga Rosa at Nestor nang tanungin ito diyalogo at pagtatanghal ng mga ng kanilang mga anak na dumalaw aktor at aktres sa mga eksenang ito, sa presinto. Walang nagtatala ng na damang-dama ang tensyon sa statement, walang mga pormal na interogasyon ng mga pulis sa mga prosesong sinusunod sa interogasyon. naaresto, at pagbabantulot ng mga Ang karupukan ng ilegal na naaresto sa pagtugon sa mga tanong, industriya ay sinalungguhitan nangingibabaw ang buong pag-iingat pa ng balatkayo ng mga pulis, sa bawat bibitiwang salita. na bagaman nakauniporme at nasa ilalim ng islogan ng PNP na Ipinairal sa kuwartong ito ang “We Serve and Protect,” ay tulad mga kritikal na transaksyong din ng tindahan ni Rosa, na may mahalagang pinagpasyahan nina pagkukunwari, sa konteksto nito, Rosa. Sa puntong ito ng pelikula, pumapangalawang mga berdugo, masinsin pang pinalawig ang at sila palang may malaking kabuluhan ng ekonomiyang kanilang partisipasyon sa mga nagpapaandar kinabibilangan. Tinugaygay ang higit sa kabuuang makinarya ng krimeng pang desperadong mga pamamaraan mapagkukunan nila ng salapi. upang makalikom ng pera, tulad ng pagbebenta at pagsangla ng mga Dahil sa iregularidad ng kalakarang gamit, pagdistrungka sa ritmo ng ito, mataas ang posibilidad ng paluwagan, paglalako ng katawan, paglabag sa mga kasunduan, kaya ekstorsyon, at blackmail. Hindi na tulad ng anumang ekonomikong lamang ito palitan ng mga produkto at palitan, mahalaga ang isang antas ng pera, kundi, presyo ng katahimikan, garantiya at tiwala sa mga kasangkot

30 sa kalakalan. Dahil walang anumang Gayunman, dahil nga kumbaga’y batas at tuntunin na nakatala sa mga lista sa tubig lamang ang kasunduan, notebook, sa panig nina Rosa at ng hindi pa pala makalalaya sina Rosa. mga pulis, lilikha sila ngayon din ng Kailangan muna nilang magbigay kontrata. Ito ang kalakarang susundin ng dagdag pang limampung libong nila; magbabanggit ng pangalan ng piso, at dito, walang opsyon kung nagbebenta ng ilegal na droga sina hindi ang sumunod, pagkat walang Rosa, kapalit ng kanilang paglaya. At mararating ang husay sa kuwentahan may istratehiya ang mga pulis para at argumentasyon ni Rosa. makuha ito mula kina Rosa. Dumating ang punto sa eksena na nagbibiruan Mariin ang komentaryo ng pelikula na ang mga pulis, inaamo ang mga rito, na kung tutuusi’y higit naaresto, para magkaroon sila ng pang may sistema, at higit pang maayos na pagkakasunduan. Ang sistematiko ang inakalang magulong mababagsik na mga tanong, ang komunidad ni Rosa. Silang maliliit pahapyaw na pagsambit ng “may at maralitang nagkukumahog para karapatan kayong manahimik” sa sa kanilang buhay at kabuhayan unang bahagi ng interogasyon, ay ay pawang mga kasangkapan, nauwi sa mas kasuwal na usapan mga kapital, at puhunan ng linsad at aregluhan, at tuluyan nang na makapangyarihang pumipiga naisiwalat ang impormalidad ng ng kapakinabangan mula sa mga opisina/kuwarto. Naging umpukan katawang ito. Sa pagkakahuli kay na ito, inilabas ng houseboy nila ang Jomar, nagpadala ito ng text upang videoke. Bumili ng lechon manok at ipaalam sa isang Major Jasmin beer gamit ang perang puwersado ang pagkakadakip sa kaniya, na nilang kinuha kay Jomar (Kristoffer ikinagalit (at posibleng labis na King), ang itinurong dealer nina Rosa. ikinatakot) ng mga pulis. Hindi

31 ang mga pangalang gaya ng Major ang nagbigay ng impormasyon Jasmin ang nakalista sa notebook sa mga pulis kaya naaresto ang ng mga tulad ni Rosa, kaya kapag kaniyang mga magulang, at ito ay nagkagipitan, laging ang nasa itaas upang mailabas ni Bongbong sa na istratum ang nakikinabang, kulungan ang kapatid. Na ginawa may seguridad, at ligtas. Napag- rin nina Rosa at Nestor kay Jomar. alaman ni Jackson na ang kaibigang Siklo na lamang ang patuloy na si Bongbong (Timothy Mabalot) pagsusustina sa mga nasa itaas ng

THE TROUBLED SOCIETY Nonoy L. Lauzon

here is nothing that does not police operation like no other that ring true in Brillante Mendoza’s has no counterpart in the literature TMa’Rosa. With a feverish camera, of Franz Kafka or George Orwell. Brillante has painted a moving canvas of a crooked society in the country Without a court order, they raid her and the dregs that inhabit it. The film home and arrest her and her husband. is a return to form to the Brillante In the station the couple is holed up, who made Kinatay in 2009 that they are bluntly asked to produce cash clinched for the country what remains in exchange for their freedom. The its best finish in the main competition spouses rally their kids to raise the for full-length features at Festival de needed money and what follows are Cannes with its most outstanding stirring sequences worthy of a Guy de director plum officially calledPrix de Maupassant’s string of tales. la Mise en Scène. Jaclyn Jose in the titular role churns The director trains his sights once out a nonpareil performance most more on a depiction of corrupt deserving of the prize conferred on cops. But their victim this time is far her at this year’s Cannes where the different from the acclaimed film film landed in main competition. Kinatay’s aging prostitute about to She is ably aided by the rest of the be slaughtered. Here, the gang of cast comprised of peculiar types and dishonest men in uniform preys idiosyncratic characters that add up on a neighborhood-store owner to the tapestry of naturalist drama peddling dangerous drugs. It’s a that the film entirely evinces.

32 mga gaya nina Bongbong, Rosa, at tunog at musika, sinematograpiya, Jomar. At hangga’t may makukuha at mahusay na mga pagtatanghal, sa mga ito, walang katapusan ang malinaw at malalim ang talab mga blackmail, ang mga banta ng pelikula sa pagsesemento ng at pakiusap, at mga paglabag kritisismo nito sa volatility na sa impormal na kasunduan. Sa kumakatawan sa temperamento pamamagitan ng matagumpay ng isang uri ng ekonomiyang na pagtatahi ng naratibo, editing, nakasandal sa maligalig na sistema.

Now that the country is under new since corruption has become administration, Ma’Rosa turns out endemic to its very system. It will to resonate well and is much timely take much more than the shaming of and relevant. It manifests Brillante’s a few generals to clean up the police astuteness as keen social observer and rank and file and hopefully bring sensitive artist whose creative pursuit law and order back in the realm. can only prove to be crucial for a nation that has resolved to tread the The country’s poor resort to crime path of renewal and transformation. for survival. But the police force has another way of dealing with it. The film makes quite a bold What is to their interest is not to get statement. The country doesn’t just rid of crimes but to earn fast money have errant men in the police force, and derive some form of benefit as it is the full force of the police from every act of crime. And so it itself that has gone errant. One gets is told that society in such case can to talk here not merely of bad eggs in never be more fucked up and utterly law enforcement agencies especially twisted.

33 PAGKABUHAY Aristotle J. Atienza

Patay na si Hesus Nominee, Best Screenplay (Fatrick Tabada and Moira Lang) Nominee, Best Achievement in Sound and Aural Orchestration (Mark Laccay and Nicholas Varela, sound; Francis de Veyra, music) Nominee, Best Performance (Jaclyn Jose) Nominee, Best Performance (Jaclyn Jose, Chai Fonacier, Melde Montañez, Vincent Viado, Mailes Kanapi, Olive Nieto, Sheen Gener, Albert Chan Paran [ensemble])

aparada ang pulang multicab sasambiting “patay na si Hesus,” sa isang walang lamang ang matagal na niyang hiwalay na Pkalye sa Cebu, at unti- asawa, at ama sa tatlong malalaki unti ay magiging karinderyang nang anak. dadalawin ng mga nakakakilala rito. Karaniwan na marahil Sa pelikulang Patay na si Hesus ang ganitong panahon sa lugar (Victor Villanueva, 2016), pero mararamdaman sa mga mamarkahan ang kamatayan bilang kumakain na naiibang araw itong panahon sa kasaysayan ng buhay masasaksihan. Mamamatyagan nila ng isang pamilya. At bagama’t ang babaeng naghihiwa ng breaded pananda sa pagsisimula ng mga porkchop, si Iyay (Jaclyn Jose), suliraning haharapin ng pelikula, nang walang pagdadalamhating aabangan sa palabas, hudyat ng

34 panibagong kabanata, hindi ito Hesus. Kasabay natin sa biyahe nila naging memoryalisasyon, malungkot sa baha-bahagi ng Kabisayaang na pag-alaala sa nakaraan, hindi madalas masaksihan ang pagbabaliktanaw sa naging buhay, mapaglarong musika ni Francis kundi pagpapaalala sa kasalukuyang Veyra na naghahatid ng kasariwaang hinaharap kapiling ang matagal nagmamapa sa nilalakbay na nang nawala. Sa madaling salita, kasaysayan at kapaligiran. ang tatahakin ng pelikula sa pagkamatay ng dating bana at ama Sakay ng kanilang munting sasakyan ay hindi ang nakaraang tiwalag sa ang pamilya, kasama maging si kasalukuyan kundi ang hinaharap Hudas (Sadie), ang alagang shih tzu. ay ang kasalukuyang patuloy na Para ngang may outing lang, sabi ng sinusundan ng anino ng nakaraan. anak, lalo na’t maraming pinamiling Tataluntunin ang pagtugon sa hinanda si Iyay para sa lamay kamatayan ng kapamilya sa mga ni Hesus. Pero sa daan tulad ng posibilidad ng katatawanan na aasahan, hindi magiging magaan ang maingat na ibinalangkas sa panulat paglalakbay papuntang Dumaguete nina Fatrick Tabada at Moira Lang dahil binibitbit ang mga bagaheng subalit ipopook hindi sa pamilyar dinadala na bago pa man lisanin na tahanan, itong kinalakhang ang tahanan. Sa panahong patay na lunan ng melodramang domestiko, si Hesus sasambulat ang lahat ng kundi sa iba’t ibang lawak ng krus na pinapasan. Makatatanggap katauhan at kapuluan sa labas ng ng balita si Iyay na nanganganib tahanan na makakaengkuwentro at na mawala ang puwesto ng makakahalubilo habang binabagtas karinderya. Nang sunduin nila ang mga lansangan patungong si Lucy (Angelina Kanapi), ang Negros sa pagdalaw sa burol ni kapatid niyang madre, na sasamang

35 makikipaglibing ay tila nakalaya ito masasangkutan ng lahat, ang sa Monastery of the Holy Eucharist pamilya, at ang pamilyang umaandar na kaniyang pinanggalingan. sa kahabaan ng mga ugnayang Masasaksihan ni Jude/Judith Marie kapuluan. Problema ng lahat ang (Chai Fonacier) ang pambababae problema ng isa. ng nobya na halos ibigay na ang lahat, pati ang pag-aaral kay Mia Waring walang tuwirang kaugnayan (Precious Miel Espinoza), ang batang sa nasirang asawa at ama ang anak ng kinakasamang babae. mga pinagdadaanang suliranin ng Walang kinukuhang trabaho dahil isa’t isa. Pero ang mga rebelasyon umaasang ipapasa ang board exam sa paglalakbay na masinop na na dalawang beses nang kinuha, dinisenyo sa pelikula ay mga bakas nabuntis ni Jay (Melde Montañez) na naiwan sa mismong pagkawala ang nobya. Sa huli, hahanapin nila ni Hesus noon pa man. Naging ang mawawalang si Bert/Hubert paalala ito ng mga kinahinatnan ng (Paul Vincent Viado), ang panganay inaakalang paglusaw ng tradisyonal na anak na may Down syndrome, na pamilya. Wala kasi si Hesus na piping saksi sa mga kabaliwan kaya nangyayari ang lahat ng ito ng kaniyang pamilya, tatakasan sa kanila. Bibitbitin ni Iyay na niyang lahat ito at mauuna nang marahil ay kasalanan niya kung ano tutungong mag-isa sa Dumaguete ngayon ang tinatamasa. Kung hindi karga-karga si Hudas. Binubuhay lang siya nagmatigas, sabi niya. ng matitingkad na pagganap, may Na maaaring hindi nga ito naging kani-kaniyang suliraning binibitbit ganito kung tinanggap niya ang ang bawat isa pero ang sapilitang pagmamakaawang magkabalikan pagsasama-sama nila sa sasakyan at na sila ng babaerong asawa. Pero sa daan ay tatawid sa mga espasyong hindi ito ang nangyari at matagal

36 nang wala na si Hesus sa piling nila. mabagal na umuusad ang karo Noon pa man napagluksaan na nila ng patay na sinusundan ng mga ang ama, at nakabangon-bangon na nagmamahal sa nawalang buhay, sila sa pagtataguyod nang mag-isa papalahaw sa pag-iyak sina Iyay, ni Iyay. Mahalaga ito lalo na sa bago Hubert, Jude, at Jay sa nasagasaang nang pamilya ng dating asawa na alagang shih tzu. Sa ganitong bago pa lamang ang pagkawala, kalagayan, tiyak na ang paggunita kay Linda (Olive Nieto). Mag-uusap sa makasaysayang paninimbang ang babae sa babae, ina sa ina, sapagkat mamarkahan sa panahon makakayang lampasan din ang takot ng kamatayan ni Hudas. Pabalik ng sa panahong patay na ang bana. At Cebu, may panibagong kabanata sino pa nga ba ang makasisigurong silang lalakbayin. Ano ngayon ang makababangon muli kahit wala ang haharaping hinaharap nila? Ano lalaki kundi si Iyay na pinasasariwa ang mga bubuuin at bubunuin nina at pinasisigla ng katimpiang Bert, Jude, at Jay? May ipinapaalala nakasanayan kay Jaclyn Jose. ang pelikula: nasa krisis (lagi) ang pamilya. Pormalidad na lang marahil kay Iyay ang kamatayan ni Hesus na Sa panahong patay na si Hesus, nagmamarka sa kasaysayan ng nagiging posible ang mga hindi napansing “tagumpay” sa kababalaghang nararanasan ng pakikipagsapalaran sa matagal mag-anak. Napalilitaw pang lalo nang hiwalay na asawa at ama. sa pagpapatibay sa katatagan ng Ipinapaalala ang nagawa at pamilyang matagal nang sumuway nakayanan sa kaniyang pagkawala. sa kasaysayang nararapat nitong Hindi na nakapagtataka kung tahakin. Pero bagama’t nakalalaya bakit hindi madaling iyakan ang ay matatagpuang sinusubaybayan pagkamatay niya samantalang tila pa rin ng aninong hulmado ng kay dali-dali namang magpakawala mga gawain ng simbahan. Sa ng luha sa pagkawala ng nobya, pelikulang Patay na si Hesus, posible halimbawa. Kung bakit maaaring pa rin ang pamilya, may buhay piliing hindi na lamang sumama pa rin ito, muling nabubuhay sa burol at kung bakit hindi dapat ito, sa labas ng mga inaasahang tumangging hindi pumunta sa katuparan ng mga sinagradong kabila ng lahat ng nangyari sa batas ng institusyong lagi’t laging kanila. Demonyo man iyon, tatay mapagmasid, mapanimbang, pa rin nila iyon, sabi nga ni Iyay. at mapagparusa. Madilim at Aabot sa kasukdulan ang kasidhian mapanganib kung tutuusin, subalit ng damdamin sa mga ugnayang tila, parang, mukhang hindi lalo na’t nalilikha at nabubuo sa mismong isinasariwa sa mga kaparaanan ng araw ng libing ni Hesus habang katatawanang binisaya.

37 TROPICAL DIVINE J Pilapil Jacobo

Tuos Nominee, Best Achievement in Cinematography and Visual Design (Mycko David [cinematography], Steff Dereja [production design]) Nominee, Best Performance (Nora Aunor) Nominee, Best Performance (Barbie Forteza) Nominee, Best Performance (Nora Aunor and Barbie Forteza [duo])

he contest of wills that ensues because the conditions of rift and the between the high priestess concord that must be agreed upon TPinailog (Nora Aunor) and in spite of the poison are imbricated her heiress-apparent Dowokan within the gender of the gift itself. (Barbie Forteza) portrayed in the Kinaray-a film Tuos revisits not only While the epic past is animated to the tension between structure and enquire on the mythic origins of agency, and the cleave between the the kept maiden, Tuos only weaves archaic and the modern attending Hiligaynon orature into national the former opposition, but also the cinema to naturalize autochthonous irreciprocal terms of kinship that practices of exception which turn must nevertheless be resolved by women into objects of inalienable female commiseration, precisely exchange so that a community

38 may lay claim to the civility it kerchiefs, skirts, nets, curtains finally seeks to establish as historic. metonymized through the image of The contemporary cannot learn an arachnid who has yet to complete anything from this method of her gossamer web. And yet this does rarification. While folklore must be not mean that vestality is superficial, read as that discursive formation if sheer vestments can make the desired by narratives of colonial secret available, particularly when capital to be obliterated, so that the a glance through the textile turns parties underwriting the potlatch into the scopophiliac gaze; the film may finally turn to the spell of the is telling us something about the fetish, the epic, in this case, is that permeable and the interstitial: what mode of consciousness that seeks to the scopic can traverse and how achieve its own obsolescence. Why certain instances, albeit rapturous, the repetition, if silence, and not persuade us to be opaque. Such resonance, is the future of the voice? predicament is cinematic.

The paradox of this premise justifies Diaphany is that opportunity however the visuality of the textile of concealment. And yet, the between orature and cinema, translucence affords one to see as Denise O’Hara and Roderick through, to look out into the world Cabrido’s Tuos probes into the from this privileged anonymity. dilemma of a lineage that may When Pinailog witnesses Dowokan succumb to discontinuing the long surrendering her purity to Daupan, duration of its primitive entelechy, she becomes prone herself to the through a montage of scenes which rumor of the sex that has been concatenate the precarity of the denied from her millennial ancestry. contract between humans and Her voyeurism articulates the axiom daemons instituted through the of the violence that befalls her body perpetual vestality of the “binukot.” as the last of the virgins. The spirit If woman must be withheld to assure of the gift does not dwell in an the polity the sacrosanct secret that exception from corporeal experience protects its insular singularity deep per se; it distinguishes its reciprocity within the montane tropics, then as disavowal of the carnal the pact with such archaism can knowledge annunciated when the only be defiled through the nubile coitus becomes factitious as vision. body of the princess who refuses to The binukot must be hidden from be beautiful by opening herself up sex because she must be distant to ravage. The predisposition to this from the plethora of its plaisances. hymenal rupture is visually designed Furthermore, she cannot be an through diaphanous fabrics: veils, aspect of such a spectacle; the genital

39 act must remain private, redeemed on how dexterously solitude can from sibylline judgment. The sacred find its path alongside the rites of and the profane must from each romance—and Forteza’s fragility other remain safe. The eye is the aggravated at her ineptitude to most diaphanous of organs; the convey the songs of her folk, while contemplation of seduction must her hands cannot wait to snap the forever be obscured by the vestal strings of her lone lute. subject. With pleasure threatening to be proximate, she must will all of Only the defeat of Eros can repair her diaphanous access to the earthly the hymenal breach; Aunor sensorium to turn into a carapace. vanquishes the demon with epic The shamaness is supreme potentate precision! When Forteza finally of her kin, because her erotic accedes to the shamanic succession, patience is most adamantine. she understands the gift as a place where the anterior agent gains Nora Aunor portrays the resistivity prescience and precedence. From to damage with so much fortitude, here, Pinailog descends to the sea that the moment of her capture to die, as rivers cascade to belong can only be devastating; such to, where else, but the abyss; and traumaturgy is less an aftermath Dowokan proceeds to live, as than the epicenter of the defiance psyche watching herself think almost always held with grace by through the millennium, within the Barbie Forteza. There is antipodal cinematheque. tremor in this duel of acting, with Aunor’s quake choreographically What is the tropical divine but an staged in her avian dance to ultimate contention with erotic punctuate a wedding rite—a lesson duress?

40 IN A BROTHEL FOR POOR MEN Nonoy L. Lauzon

Area Nominee, Best Screenplay (Robby Tantingco and Ferdinand Dizon Lapuz) Nominee, Best Performance (Ai-Ai de las Alas) Nominee, Best Performance (Ai-Ai de las Alas, Allen Dizon, Sue Prado, Sarah Pagcaliwagan, Ireen Cervantes, Tabs Sumulong, Sancho de las Alas, Francisco Guinto, Cecile Yumul, Bambalito Lacap, Eurocina Peña, Rein Gutierrez, Vicky Vega-Cabigting [ensemble])

he abrogation of the RP-US bases in Kazakhstan where it had its world treaty and the eruption of Mt. premiere, director Louie Ignacio TPinatubo – that both occurred examines the enclave of the poor in 1991 – comprise the two back man’s brothels in his native province stories that inform the plot of Area. of Pampanga that had seen better In the film that won for the country days prior to the end of American the Special Jury Prize at this year’s presence at Clark and the cataclysmic Eurasia International Film Festival devastation wrought by Mt. Pinatubo.

41 A gallery of characters is presented two matriarchs of the sinful house to provide studies in contrast central to the film’s narrative fought and individual differences as as guerrilla during World War II well as reveal the complex mix- while the other is battling an ailment and-match, cross and interplay that expectedly depletes household of ideological convictions that finances. Midway through the film may have allowed the out-of-the- with an incident of theft, the culprit ordinary enterprise to survive turns out to be a barangay tanod and persist. As perspicacity may constituting what could very well be be said to be one of the film’s the film’s critique of the country’s pronounced virtues, one can only corrupt government that could be note its resolve to shun hysteria so heartless to readily rob even the and sensationalism in dealing with poorest of its poor and the lowliest its subject. It even assumes a self- of its lowly. deprecating, sardonic tone – the better to prevent it from wallowing, In a gist, the film offers an digressing and degenerating into unapologetic look at the community self-pity and melodrama involving of sex workers and the subsistence prostituted women. economy that their trade embodies. Succeeding mainly as a milieu- What makes the film even more driven and ensemble-performance compelling is its attention to the picture with scenes alternately four generations of a clan that has played for laughs and moments of opted to keep the family business stirring drama, the clever film says seemingly at all costs. The dynamics a mouthful about the country, its of their relations with the coterie of inhabitants and their craftsmanship sex workers under their employ are for tactical ways of surviving and fodder for gritty spectacle pointing overcoming the toils and hardships to an ambivalent form of social of the day-to-day in whatever trade order apparently oblivious of its it may be. dehumanizing sway. The greatest of Filipino directors in What is further manifested is past eras have had their individual another face of multi-layered celluloid takes on the lives of Third-World squalor whereby persons engaged in the oldest societal contradictions abound. profession, filmmaker Louie Ignacio For one, the film is ironically set contributes to the pantheon with during Holy Week in the country an indie feature that possesses all showing protagonists partake of the attributes to be remembered for acts of atonement. The elder of the long.

42 WE ARE STILL HERE Emerald Flaviano

2 Cool 2 Be 4gotten Winner, Best First Feature (Petersen Vargas)

t’s the first week of classes in a introduced. A world contained public high school in Angeles within himself, Felix has always ICity, Pampanga, sometime in the been alone. He is the top student in late 1990s and a boy, backpacked his class because he really is smart, and solitary, stares at a group of and not because he sucks up to the his classmates horsing around. We teacher (as his frumpy #2 and #3, follow his line of sight and so are Zarina and Girlie do). He has no party to the rowdy youngsters’ rude friends, but is cool with it, having return to the boy’s indifferent gaze. no use for the “unremarkable Later, these very same teenagers individuals in this forlorn school.” get a tongue lashing from the anti-“barriotic” English teacher His world is upset however, when while the boy, smirking, looks on. the Snyder brothers transfer to his And so 2 Cool 2 Be 4gotten’s hero, school. For the first time, something Felix Salonga (Khalil Ramos), is that is not Omegaboy interests the

43 characteristically unengaged Felix. the malevolent Maxim). Yet it is The sons of a US serviceman and Felix’s sharing of what is probably a Filipina Fields Avenue hooker, the single most significant—up until Magnus (Ethan Salvador) and Magnus’ death that is—event in his Maxim (Jameson Blake) are unlike young life that Felix affirms his love anyone Felix has ever met: pale, for his only and best friend. He takes handsome, English-speaking, and Magnus to the place where his old rich, they disturb the social structure house used to stand, now buried of the small high school. Magnus under the lahar, and recounts the inadvertently displaces the reigning day the Pinatubo erupted and his alpha male of the class, Felix attracts family’s narrow escape. “[T]here was the envious attention of girls eyeing nothing. It was like our house didn’t Magnus, and teachers try to seduce even exist at all. The lahar took either of the brothers. But for Felix, everything,” Felix remembers while who becomes a regular in the Magnus listens. Felix is surprised Snyder household helping Magnus to receive Magnus’ “You’re pretty with his geometry, the reason is also cool, Felix” and an awkward but economic. For the brothers, money heartfelt side-hug, but is grateful is immaterial: Magnus pays Felix nevertheless. For it is not only ten dollars per geometry lesson, Magnus’ concern that Felix gets, but while Maxim hands out dollars for a perfect understanding of himself: dares. On the other hand, money has Felix might still be uncomfortable always been scarce in the Salonga with being “gay,” constrained as he household, but Felix thinks that the is by his youth and the conservative “pieces of green paper” he has been environment he grew up in, but he collecting in a tin can bring him knows for certain that he loves (has) closer to the same level as to the Magnus, and that is all that matters. Snyder brothers. Yet for all Felix’s fascination with the The brothers are both good-looking, Magnus, he cannot quite understand but Felix gets particularly taken why leaving the Philippines for the with the aptly-named Magnus, the US means so much for the Snyder gentler of the two. Magnus’ small brothers. “This shitty country,” “a kindnesses—a borrowed Walkman, horrible place for me and Magnus” mixtapes—and not-yet-outgrown are how they describe the only home love of Omegaboy endears him to that they have always known. 2 Cool Felix. Magnus is the golden-haired does not quite tease out Magnus Florante, who Felix saves from the and Maxim’s isolation, but what lions (i.e. their dull classmates and little it does offer is enough to read sexually predatory teachers, the on probabilities. Despite being born misguided dream to go to the US, and growing up in Pampanga, the

44 brothers don’t (cannot?) speak either an afternoon in the middle of Subic Kapampangan or Tagalog, don’t have Bay’s choppy waters, Magnus jumps any friends, and are most unlikely to off their bobbing buoy to save their have known family other than their mother—the unsuspecting collateral mother. They live in a bubble, expats damage of Maxim’s plan to get their confined in their “little America” chance at maybe really belonging (the former Clark Air Base), with its somewhere. joyless copies of the typical American suburban home (“picturesque Petersen Vargas’ debut feature 2 houses,” is how the starry-eyed Cool 2 Be 4gotten (2016) expands Felix describes them). In a city full on his previous work on gay sexual of families who have yet to recover awakening with his short film from the eruption of the Pinatubo, Lisyun Qng Geografia and benefits the brothers in their porma, with from Jason Paul Laxamana’s their dollars and English, are alien. continuing engagement with Felix’s clumsy lyricism—“The shiny issues of race in a post-US bases shimmering Snyder brothers. The Pampanga. Laxamana’s script dual dukes of exquisiteness. The paints a painstaking picture of high genetic miracles of interracial school and its—now ridiculously copulation.”—describing Magnus pointless—rituals: the sing-song and Maxim, while funny, hints at the greetings, the gratifying and reverent distancing that the brothers shaming top 3s, bottom 3s, and have always had to endure. Their ruler smacks. But this nostalgic difference has always defined them return is made more effective by first and marked them out, and in Felix’s awkwardly affected English this isolation the brothers has always for his journal project, an accurate had only one another. But at the reminder of youthful fumblings for crucial moment, when it comes in one’s own voice.

45 FILMOGRAFIA PHILIPPINE CINEMA 2016 January 13 Pilipinas, Potocol, Akanga Film Lumayo Ka Nga sa Akin Productions) (Viva Films, Heaven’s Best Entertainment) April 6 Whistleblower January 27 (Unitel Pictures) Everything About Her (ABS-CBN Film Productions, Star Elemento Cinema Productions) (Viva Films)

February 3 April 13 Lakbay2Love Echorsis (Erasto Productions) (Insight 360)

February 10 April 20 Love Is Blind I Love You, Thank You (Regal Entertainment) (The Grit Project, Noel D. Ferrer Girlfriend for Hire (Viva Films) Productions)

February 17 May 4 Tandem Just the 3 of Us (Quantum Films) (ABS-CBN Film Productions, Star Cinema Productions) February 24 Always Be My Maybe This Time (ABS-CBN Film Productions, Star (Viva Films) Cinema Productions) Diyos-Diyosan March 2 (LEB Telon Film Production) Mandirigma May 11 March 26 My Candidate Hele sa Hiwagang Hapis (Quantum Films) (TEN17P, Epicmedia, Sine Olivia

46 May 25 July 20 Love Me Tomorrow Anino sa Likod ng Buwan (ABS-CBN Film Productions, Star (Octobertrain Films, IdeaFirst Cinema Productions) Company)

Ang Tatay Kong Sexy July 27 (Largavista Entertainment) How to Be Yours (Star Cinema Productions) The Legend of Teniente Gimo (KIB Production and RMS Ignacio de Loyola Productions) (Jesuit Communications Foundation)

June 8 August 10 Magtanggol That Thing Called Tanga Na (Felix and Bert Film Productions) (Regal Entertainment)

Pare Mahal Mo Raw Ako August 24 (Viva Films, Scenema Concepts Camp Sawi International) (Viva Films)

June 29 Pamilya Ordinaryo The Breaky Achy Hearts (Found Films) (ABS-CBN Film Productions, Star Cinema Productions) September 13 1st Sem July 6 (Team Campry Entertainment) I Love You to Death (Regal Entertainment) September 14 Barcelona: A Love Untold Ma’Rosa (ABS-CBN Film Productions, Star (Centerstage Productions) Cinema Productions)

July 13 September 21 Dukot Ang Hapis at Himagsik ni Hermano (ABS-CBN Film Productions, Star Puli Cinema Productions, Ten17P) (T-Rex Entertainment Productions) I America (Viva Films) Imagine You & Me (APT Entertainment, GMA Films, September 28 M-Zet TV) My Rebound Girl (Regal Entertainment)

47 Ang Babaeng Humayo Upline Downline (Sine Olivia Pilipinas, Cinema One (ANPO) Originals) November 16 October 5 The Unmarried Wife Patintero: Ang Alamat ni Meng Patalo (Star Cinema Productions) (Tuko Films, Buchi Boy Entertainment, Artikulo Uno November 23 Productions) Working Beks (Viva Films) October 12 The Third Party Toto (Star Cinema Productions) (Toto SCM Production, Central Digital Lab) October 19 Bakit Lahat ng Gwapo may Boyfriend November 30 (Viva Films) Enteng Kabisote 10 (OctoArts Films, M-Zet Productions, October 26 APT Entertainment) Apocalypse Child (Arkeofilms) The Super Parental Guardians (Star Cinema Productions) November 2 The Escort December 14 (Regal Entertainment) Mano Po 7: Chinoy Mulat (Regal Entertainment)

November 9 December 25 I Love You. Thank You Ang Babae sa Septic Tank 2: (The Grit Project, Noel D. Ferrer #ForeverIsNotEnough Productions) (Quantum Films)

Kusina Vince, Kath and James (Cinemalaya Foundation) (Star Cinema Productions)

Area Kabisera (BG Productions International) (Firestarters Productions, Silver Story Production) Ang Kwento Nating Dalawa (Dogtown Manila, Monoxide Works) Saving Sally (Rocketsheep Studios)

48 Sunday Beauty Queen Seklusyon (Voyage Studios, TBA) (Reality Entertainment)

Oro Die Beautiful (Feliz Film Productions) (The IdeaFirst Company, Octobertrain Films)

NON-MAJOR RELEASES Hosto 010616 Half Brother 071316 Sariwa 011316 Palaboy 072716 Kabalyero 012716 Goodtime Boys 081016 Sulyap 021016 Bakas 082416 Tuhog 022416 Gawin sa Dilim 083116 Eskinita aka Mga Lalake sa Eskinita Wagas 090716 030216 Putik sa Laman 091416 #Hugot 303016 Mapaglarong Puso 092816 Virgo 040616 Ligaw na Bulaklak 100516 Pakawala 041316 Lalake sa Buhay ni Rosenda 101916 Dagit 042716 Sipat 102616 Overtime 050416 Tikim 110916 Kulasisi 051116 Ligaw Tingin 112316 Kirot 052516 Lihim 113016 Extra Job 060816 Nagbabagang Langit 120716 Sibak 062216 Urong Sulong 123016 Katawan 070616 Dakila Ka Aking Ina 123016 Gatasan

February 10-16 REELIVE THE CLASSICS Kung Mangarap Ka’t Magising (Mike De Leon, 1977) Kakabakaba Ka Ba? (Mike De Leon, 1980) Basta’t Kasama Kita (Rory Quintos, 1995) Minsan, Minahal Kita (Olivia Lamasan, 2000) Love Me Again (Land Down Under) (Rory Quintos, 2008)

February 19-27 SINGKUWENTO INTERNATIONAL

49 March 16-22 CINEFILIPINO FILM FESTIVAL Buhay Habang Buhay (Paolo Herras) 1stSem (Dexter Hemedez, Allan Ibañez) A Lotto Like Love (Carla Baful) Ned’s Project (Lemuel Lorca) Sakaling Hindi Makarating (Ice Indanan) Star Na si Van Damme Stallone (Randolph Longjas) Straight to the Heart (Dave Fabros) Ang Taba Ko Kasi (Jason Paul Laxamana) Ang Tulay ng San Sebastian (Alvin Yapan)

April 21-26 SINAG MAYNILA Dyamper (Mes de Guzman) Expressway (Ato Bautista) Lila (Gino Santos) Mrs. (Adolf Alix, Jr.) TPO (Joselito Altarejos)

June 30 - July 10 WORLD PREMIERS FILM FESTIVAL Daughters of the Three-Tailed Banner (Gutierrez Magansakan II) Curiosity, Adventure and Love (Sunshine Lichauco de Leon, Suzanne Richiardone) Edsa (Alvin Yapan) Iadya mo Kami (Mel Chionglo) Ku’te (Ronaldo Bertubin) Memory Chanel (Raynier Brizuela) Ringgo: The Dog-Shooter (Rahyan Carlos) Beast (Tom and Sam McKeith) Dalisay (Maurizio Baldini) Remittance (Patrick Daly, Joel Fendelman)

July 13-19 TOFARM FILM FESTIVAL Biyaya ng Lupa Free Range (Dennis Marasigan) Kakampi (Victor Acedillo Jr.) Paglipay (Zig Dulay) Pauwi Na (Paulo Villaluna) Pilapil (Jojo Nadela) Pitong Kabang Palay (Maricel Carriaga) 50 August 5-14 CINEMALAYA Ang Bagong Pamilya ni Ponching (Inna Miren Salazar Acuña, Dos Ocampo) Dagsin (Renato Ignacio Magadia Jr.) Hiblang Abo (Ralston Jover) I America (Ivan Andrew Payawal) Kusina (Cenon Obispo Palomares, David R. Corpuz) Lando at Bugoy (Victor Acedillo Jr.) Mercury Is Mine (Jason Paul Laxamana) Pamilya Ordinaryo (Eduardo Roy Jr.) Tuos (Roderick Cabrido)

October 13-22 QCINEMA Baboy Halas (Bagane Fiola) Patay Na si Hesus (Victor Villanueva) Hinulid (Kristian Sendon Cordero) Best Partee Ever (Howard Yambao) Women of the Weeping River (Sheron Dayoc) Ang Manananggal sa Unit 23B (Prime Cruz) Purgatorio (Derick Cabrido) Singing in Graveyards (Bradley Liew) Woven Wings of Our Children (Anton Juan) Unconscious Memory (Allan Balberona) Area (Louie Ignacio) Blanka (Kohki Hasei)

QCShorts Papa’s Shadow (Inshallah Montero) If You Leave (Dodo Dayao) Viva, Viva Escolta (Janus Victoria) Contestant #4 (Jared Joven, Kaj Palanca) Hondo (Aedrian Araojo) Sayaw sa Butal (Victor Nierva) Padating (Gabrielle Tayag)

November 14-22 CINEMA ONE ORIGINALS Forbidden Memory (Teng Mangansakan) Baka Bukas (Samantha Lee) 2 Cool 2 Be 4gotten (Petersen Vargas)

51 Malinak ya Labi (Jose Abdel Langit) Tisay (Borgy Torre) Lily (Keith Deligero) Piding (Gym Lumbera, Paolo Picones) Every Room Is a Planet (Malay Javier) People Power Bombshell: The Diary of Vietnam Rose (John Torres) Si Magdalola at ang mga Gago (Jules Katanyag)

December 7-14 REELIVE THE CLASSICS Magic Temple (Peque Gallaga and Lore Reyes, 1996) Insiang (Lino Brocka, 1976) Ganito Kami Noon, Paano Kayo Ngayon (Eddie Romero, 1976) Himala (Ishmael Bernal, 1982) Bagong Buwan (Marilou Diaz-Abaya, 2001)

52 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 themusical 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 formto 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.

53 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 ngmga 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 konpigurasyon 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.

54 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.

55 27th Annual Circle Citations for Distinguished Achievement in Film for 2016 Announced on February 12, 2017 Conferred on April 27, 2017 at the Jorge B. Vargas Museum University of the Philippines, Diliman, Quezon City

BEST FILM Winner: Women of the Weeping River, directed by Sheron Dayoc (Fernando M. Ortigas and E. A. Rocha, executive producers; Vincent Nebrida, Karim Aitouna, Thomas Micoulet, co-producers; Sheron Dayoc, producer).

Nominees: Baboy Halas, directed by Bagane Fiola (Angely Chi, Aleli S. Billena- Rodriguez, Bebe Go, Beulah Lawanin Fiola-Laranjo, Ching Amor, Debbie Karol Butay, Glorypearl Dy, Kazami Joanne Amano, Lou Raphael Cañedo, Jay Rosas, McRobert Nacario, Ralph Elusfa, Pawlo Pascual, Rhon delos Santos, Rolyn Pregunta, Rudolph Ian Alama, Socorro Fiola, Yam Palma, producers)

Ma’ Rosa, directed by Brillante Ma Mendoza (Brillante Ma Mendoza, executive producer; Larry Castillo, producer)

Malinak Ya Labi, directed by Jose Abdel Langit (Ronald Arguelles, executive producer; Dennis Evangelista and Ferdinand Lapuz, producers)

Mrs., directed by Adolfo Alix, Jr. (Brillante Ma Mendoza and Wilson Tieng, executive producers; Adolfo Alix, Jr. and Ma. Lourdes Gopez, producers)

56 BEST SCREENPLAY Winner: Ralston Jover, Mrs.

Nominees: Alvin Yapan, Ang Tulay ng San Sebastian

Fatrick Tabada and Moira Lang, Patay Na Si Hesus

Jose Abdel Langit, Malinak Ya Labi

Robby Tantingco and Ferdinand Dizon Lapuz, Area

Sheron Dayoc, Women of the Weeping River

Troy Espiritu, Ma’ Rosa

BEST ACHIEVEMENT IN CINEMATOGRAPHY AND VISUAL DESIGN Winner: Raphael Meting and Mark Limbaga (cinematography), Joel Geolamen (production design), Baboy Halas

Nominees: Albert Banzon (cinematography), Arthur Maningas (production design), Mrs.

Mycko David (cinematography), Steff Dereja (production design), Tuos

Odyssey Flores (cinematography), Brillante Mendoza (production design), Ma’ Rosa

Rommel Sales (cinematography), Harley Alcasid (production design), Women of the Weeping River

BEST ACHIEVEMENT IN EDITING Winner: Carlo Francisco Manatad, Women of the Weeping River

Nominees: Diego Marx Dobles, Ma’ Rosa

Gilbert Obispo, Malinak Ya Labi

57 BEST ACHIEVEMENT IN SOUND AND AURAL ORCHESTRATION Winner: Jess Carlos (sound), Hiroko Nagai (music), Ang Tulay ng San Sebastian

Nominees: Albert Michael Idioma (sound), Teresa Barrozo (music), Ma’ Rosa

Albert Michael Idioma and Immanuel Verona (sound), Kit Mendoza (music), Women of the Weeping River.

Gilbert Obispo (sound), Emerzon Texon (music), Malinak Ya Labi

Mark Laccay and Nicholas Varela (sound), Francis de Veyra (music), Patay Na Si Hesus

BEST PERFORMANCE Winner: Laila Putli P. Ulao, Women of the Weeping River

Nominees: Ai-Ai de las Alas, Area

Barbie Forteza, Tuos

Daria Ramirez, Mrs.

Elizabeth Oropesa, Mrs.

Nora Aunor, Tuos

Jaclyn Jose, Ma’ Rosa

Jaclyn Jose, Patay Na Si Hesus

Luz Fernandez, Malinak Ya Labi

Joem Bascon and Sandino Martin (duo), Ang Tulay ng San Sebastian

Nora Aunor and Barbie Forteza (duo), Tuos

Ai-Ai de las Alas, Allen Dizon, Sue Prado, Sarah Pagcaliwagan, Ireen Cervantes, Tabs Sumulong, Sancho de las Alas, Francisco Guinto, Cecile

58 Yumul, Bambalito Lacap, Eurocina Peña, Rein Gutierrez, Vicky Vega- Cabigting (ensemble), Area

Allen Dizon, Angeline Quinto, Luz Fernandez, Richard Quan, Dexter Doria, Menggie Cobarrubias, Marcus Madrigal, Althea Vega, Timothy Castillo, Dante Balois, Tabs Sumulong, Raul Tamayo, Shiela Paragas, Karla Zabala, Angela Alfero (ensemble), Malinak Ya Labi

Jaclyn Jose, Julio Diaz, Baron Geisler, Jomari Angeles, Neil Ryan Sese, Mercedes Cabral, Andi Eigenmann, Mark Anthony Fernandez, Felix Roco, Mon Confiado, Maria Isabel Lopez, Rubi Ruiz, John Paul Duray (ensemble), Ma’ Rosa

Jaclyn Jose, Chai Fonacier, Melde Montañez, Vincent Viado, Mailes Kanapi, Olive Nieto, Sheen Gener, Albert Chan Paran (ensemble), Patay Na Si Hesus

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

59 PAST1st Circle Citations, CITATIONS 1990 GOLD PRIZE Shake, Rattle and Roll III Andrea, Paano Ba ang Maging Isang Ina Sa Kabila ng Lahat (Gil Portes) Pangako ng Puso Sa Kabila ng Lahat SILVER PRIZE Joey Boy Munti Bakit Kay Tagal ng Sandali (Chito Roño) Dinampot Ka Lang sa Putik Kasalanan Bang Sambahin Ka (Chito Roño) Bakit Ikaw Pa Rin (Emmanuel Borlaza) BEST EDITING Hahamakin Lahat (Lino Brocka) Kailan Ka Magiging Akin Sa Kabila ng Lahat INDIVIDUAL ACHIEVEMENT PRIZE Hihintayin Kita sa Langit Nora Aunor (actress, Andrea, Paano Ba Shake, Rattle and Roll III ang Maging Isang Ina) Dinampot Ka Lang sa Putik Ricardo Lee (screenwriter, Andrea, Paano Ba ang Maging Isang Ina and Hahamakin Lahat) BEST SOUND AND AURAL ORCHESTRATION Jun Pereira (cinematographer, Bakit Kay Hihintayin Kita sa Langit Tagal ng Sandali) Shake, Rattle and Roll III George Jarlego (editor, Gumapang Ka sa Sa Kabila ng Lahat Lusak) Augusto Salvador (director, Angel Molave) BEST PERFORMANCE Nora Aunor (Ang Totoong Buhay ni Pacita M.) 2nd Circle Citations, 1991 Aga Muhlach (Joey Boy Munti) BEST PICTURE Maricel Soriano (Dinampot Ka Lang sa Sa Kabila ng Lahat (Lino Brocka) Putik) Class of ‘91 (Gil Portes) Vilma Santos (Ipagpatawad Mo) Ipagpatawad Mo (Laurice Guillen) Gina Alajar (Kailan Ka Magiging Akin) Ang Totoong Buhay ni Pacita M (Elwood Perez) Joey Boy Munti (Maryo J. de los Reyes) 3rd Circle Citations, 1992 Dinampot Ka Lang sa Putik (Maryo J. de BEST PICTURE los Reyes) Ikaw Pa Lang ang Minahal (Carlos Siguion- Reyna) BEST SCREENPLAY Iisa Pa Lamang (Jose Javier Reyes) Sa Kabila ng Lahat Tayong Dalawa (Laurice Guillen) Dinampot Ka Lang sa Putik Lumayo Ka Man sa Akin (Laurice Guillen) Ang Totoong Buhay ni Pacita M. Class of ‘91 BEST SCREENPLAY Ipagpatawad Mo Ikaw Pa Lang ang Minahal Iisa Pa Lamang BEST CINEMATOGRAPHY Tayong Dalawa AND VISUAL DESIGN Kailan Ka Magiging Akin BEST CINEMATOGRAPHY Hihintayin Kita sa Langit

60 AND VISUAL DESIGN Aliwan Paradise Tag-Araw, Tag-Ulan Ikaw Lang Ikaw Pa Lang ang Minahal Kung Mawawala Ka Pa Hiram na Mukha Lumayo Ka Man sa Akin BEST SOUND AND AURAL Ikaw ang Lahat sa Akin ORCHESTRATION Kung Mawawala Ka Pa BEST EDITING Aliwan Paradise Ikaw Pa Lang ang Minahal Ikaw Lang Tayong Dalawa Narito ang Puso Ko BEST PERFORMANCE Aswang Nora Aunor (Inay) Aga Muhlach (Hindi Kita Malilimutan) BEST SOUND AND AURAL ORCHESTRATION Vilma Santos (Dahil Mahal Kita: The Hiram na Mukha Dolzura Cortez Story) Tag-Araw, Tag-Ulan Dawn Zulueta (Kung Mawawala Ka Pa) Aswang Ikaw Pa Lang ang Minahal 5th Circle Citations, 1994 BEST PERFORMANCE BEST PICTURE Maricel Soriano (Ikaw Pa Lang ang Minahal) Vampira (Joey Romero) Lorna Tolentino (Narito ang Puso Ko) Pangako ng Kahapon (Joel Lamangan) Nanette Medved (Hiram na Mukha) Wating (Ishmael Bernal) Gabby Concepcion (Tayong Dalawa) Sana Dalawa ang Puso Ko (Laurice Guillen) Dawn Zulueta (Iisa Pa Lamang) Maricel Laxa (Ikaw ang Lahat sa Akin) BEST SCREENPLAY Vilma Santos (Sinungaling Mong Puso) Sana Dalawa ang Puso Ko Gabby Concepcion (Narito ang Puso Ko) Massacre Files Separada Kadenang Bulaklak 4th Circle Citations, 1993 BEST PICTURE BEST CINEMATOGRAPHY Hindi Kita Malilimutan (Jose Javier Reyes) AND VISUAL DESIGN Aliwan Paradise (Mike de Leon) The Fatima Buen Story Inay (Artemio Marquez) Wating Ikaw (Joel Lamangan) Vampira Gaano Kita Kamahal (Butch Perez) Pangako ng Kahapon Sana Dalawa ang Puso Ko BEST SCREENPLAY Hindi Kita Malilimutan BEST EDITING The Maricris Sioson Story: Japayuki Vampira Aliwan Paradise Pangako ng Kahapon Wating BEST CINEMATOGRAPHY The Fatima Buen Story AND VISUAL DESIGN Ikaw Lang BEST SOUND AND AURAL Aliwan Paradise ORCHESTRATION Kung Mawawala Ka Pa Sana Dalawa ang Puso Ko Wating BEST EDITING

61 Pangako ng Kahapon Nora Aunor (The Flor Contemplacion Story) Vampira Aga Muhlach (Sana Maulit Muli) The Fatima Buen Story Nora Aunor (Muling Umawit ang Puso) Jaclyn Jose (The Flor Contemplacion Story) BEST PERFORMANCE Lorna Tolentino (Sa Ngalan ng Pagibig) Maricel Soriano (Vampira) Amy Austria (Nena) Dawn Zulueta (Buhay ng Buhay Ko) Sharmaine Arnaiz (Ipaglaban Mo: The Maricel Soriano (Separada) Movie) Dina Bonnevie (Sana Dalawa ang Puso Ko) Maricel Soriano (Dahas) Alice Dixson (Bakit Ngayon Ka Lang) Carmina Villaroel (Wating) Snooky Serna (Koronang Itim) 7th Circle Citations, 1996 BEST PICTURE Mumbaki (Jose Antonio Perez) 6th Circle Citations, 1995 BEST PICTURE BEST SCREENPLAY Nena (Ike Jarlego, Jr.) Mumbaki Sana Maulit Muli (Olivia Lamasan) Segurista The Flor Contemplacion Story (Joel Ganti ng Puso Lamangan) BEST CINEMATOGRAPHY BEST SCREENPLAY AND VISUAL DESIGN Nena Isla Sana Maulit Muli Mumbaki The Flor Contemplacion Story Segurista Pare Ko BEST EDITING BEST CINEMATOGRAPHY Isla AND VISUAL DESIGN Mumbaki The Flor Contemplacion Story Ganti ng Puso Nena Segurista Dahas Sana Maulit Muli BEST SOUND AND AURAL ORCHESTRATION Inagaw Mo ang Lahat sa Akin Mumbaki Sa Ngalan ng Pag-ibig Isla

BEST EDITING BEST PERFORMANCE Dahas Christopher de Leon (Madrasta) Sa Ngalan ng Pag-ibig Nora Aunor (Bakit May Kahapon Pa) Pare Ko Jaclyn Jose (May Nagmamahal sa Iyo) Nena

BEST SOUND AND AURAL ORCHESTRATION 8th Circle Citations, 1997 Dahas BEST PICTURE Sa Ngalan ng Pag-ibig Batang PX (Jose Javier Reyes) Pare Ko Damong Ligaw (Jose Mari Avellana) Nena BEST SCREENPLAY BEST PERFORMANCE

62 Batang PX BEST EDITING Minsan Lamang Magmamahal Sana Pag-ibig Na Damong Ligaw Bata, Bata, Paano Ka Ginawa Curacha, Ang Babaeng Walang Pahinga BEST CINEMATOGRAPHY AND VISUAL DESIGN BEST SOUND ANG AURAL ORCHESTRATION Milagros Curacha, Ang Babaeng Walang Pahinga Batang PX Bata, Bata, Paano Ka Ginawa Hanggang Kailan Kita Mamahalin Sana Pag-ibig Na

BEST EDITING BEST PERFORMANCE Milagros Vilma Santos (Bata, Bata, Paano Ka Ginawa) Batang PX Nida Blanca (Sana Pag-ibig Na) Serena Dalrymple (Bata, Bata, Paano Ka BEST SOUND AND AURAL ORCHESTRATION Ginawa) Milagros Anita Linda (Babae sa Bubungang Lata) Damong Ligaw Cesar Montano (José Rizal) Hanggang Kailan Kita Mamahalin

BEST PERFORMANCE 10th Circle Citations, 1999 Patrick Garcia(Batang PX) BEST PICTURE Nora Aunor (Babae) Sisa (Mario O’Hara) Nonie Buencamino (Milagros) Pila Balde (Jeffrey Jeturian) Maricel Soriano (Minsan Lamang Saranggola (Gil M. Portes) Magmamahal) Phone Sex (Jose Javier Reyes) Romnick Sarmenta (Damong Ligaw) Bulaklak ng Maynila (Joel Lamangan) Lorna Tolentino (Hanggang Kailan Kita Mamahalin) BEST SCREENPLAY Sisa Pila Balde 9th Circle Citations, 1998 BEST PICTURE BEST CINEMATOGRAPHY Bata, Bata, Paano Ka Ginawa (Chito S. Roño) AND VISUAL DESIGN Babae sa Bubungang Lata (Mario O’ Hara) Pila Balde Sana Pag-ibig Na (Jeffrey Jeturian) Phone Sex Curacha: Ang Babaeng Walang Pahinga Bulaklak ng Maynila (Chito S. Roño) BEST EDITING BEST SCREENPLAY Pila Balde Bata, Bata, Paano Ka Ginawa Sisa Babae sa Bubungang Lata Luksong Tinik Sana Pag-ibig Na Curacha: Ang Babaeng Walang Pahinga BEST SOUND AND AURAL ORCHESTRATION BEST CINEMATOGRAPHY Phone Sex AND VISUAL DESIGN Pila Balde Babae sa Bubungang Lata Bulaklak ng Maynila Curacha, Ang Babaeng Walang Pahinga Bata, Bata, Paano Ka Ginawa

63 BEST PERFORMANCE 12th Circle Citations, 2001 Elizabeth Oropesa (Bulaklak ng Maynila) BEST PICTURE Lester Llansang (Saranggola) Minsan May Isang Puso (Jose Javier Reyes) Christopher de Leon (Bulaklak ng Maynila) Sa Huling Paghihintay (Erik Matti) Jhong Hilario (Muro-ami) Yamashita: The Tiger’s Treasure (Chito S. Roño)

11th Circle Citations, 2000 BEST SCREENPLAY BEST PICTURE Minsan May Isang Puso Bayaning Third World Sa Huling Paghihintay Tanging Yaman Yamashita: The Tiger’s Treasure Senswal Mother Ignacia, Ang Uliran BEST CINEMATOGRAPHY Sugatang Puso AND VISUAL DESIGN Yamashita: The Tiger’s Treasure BEST SCREENPLAY Sa Huling Paghihintay Tanging Yaman Minsan May Isang Puso Senswal La Vida Rosa Mother Ignacia, Ang Uliran BEST EDITING BEST CINEMATOGRAPHY Minsan May Isang Puso AND VISUAL DESIGN Sa Huling Paghihintay Bayaning Third World La Vida Rosa Pedrong Palad Hubog Senswal Yamashita: The Tiger’s Treasure Pangarap ng Puso Laro sa Baga BEST SOUND AND Markova Comfort Gay AURAL ORCHESTRATION Tanging Yamen Minsan May Isang Puso Yamashita: The Tiger’s Treasure BEST EDITING Sa Huling Paghihintay Bayaning Third World Hubog Senswal Tanging Yamen BEST PERFORMANCE Jaclyn Jose (Minsan May Isang Puso) BEST SOUND AND AURAL ORCHESTRATION Mark Gil (Sa Huling Paghihintay) Bayaning Third World Carlo Aquino (Minsan May Isang Puso) Sugatang Puso Ricky Davao (Minsan May Isang Puso) Tanging Yaman Rosanna Roces (La Vida Rosa)

BEST PERFORMANCE Entire Cast (Tanging Yaman) 13th Circle Citations, 2002 Rio Locsin (Bayaning Third World) BEST PICTURE Elizabeth Oropesa (Senswal) Dekada ‘70 (Chito S. Roño) Alessandra de Rossi (Azucena) Buko Pandan (Uro Q. de la Cruz) Dolphy (Markova, Comfort Gay) Itlog (Francis Jun Posadas) Johnny Delgado (Tanging Yaman) Diskarte (Edgardo Boy Vinarao) Gloria Romero (Tanging Yaman) Mga Munting Tinig (Gil M. Portes)

64 BEST SCREENPLAY Dekada ‘70 BEST EDITING Itlog Malikmata Diskarte Babae sa Breakwater Mga Munting Tinig Anghel sa Lupa

BEST CINEMATOGRAPHY BEST SOUND AND AND VISUAL DESIGN AURAL ORCHESTRATION Ikaw Lamang Hanggang Ngayon Anghel sa Lupa Buko Pandan Babae sa Breakwater Itlog Malikmata Diskarte Mga Munting Tinig BEST PERFORMANCE Dekada ‘70 Katherine Luna (Babae sa Breakwater) Maricel Soriano (Filipinas) BEST EDITING Elizabeth Oropesa (Homecoming) Diskarte Entire Cast (Malikmata) Mga Munting Tinig Dekada ‘70 15th Circle Citations, 2004 BEST SOUND AND AURAL ORCHESTRATION BEST PICTURE Dekada ‘70 Minsan Pa (Jeffrey Jeturian) Buko Pandan Sigaw (Yam Laranas) Diskarte BEST SCREENPLAY BEST PERFORMANCE Minsan Pa Vilma Santos (Dekada ‘70) Sigaw Piolo Pascual (Dekada ‘70) Regine Velasquez (Ikaw Lamang BEST CINEMATOGRAPHY Hanggang Ngayon) AND VISUAL DESIGN Celso Ad. Castillo (Itlog) Sigaw

BEST EDITING 14th Circle Citations, 2003 Sigaw BEST PICTURE Spirit of the Glass Babae sa Breakwater (Mario O’Hara) Anghel sa Lupa (Jose Javier Reyes) BEST SOUND AND Homecoming (Gil M. Portes) AURAL ORCHESTRATION Malikmata (Jose Javier Reyes) Sigaw Feng Shui BEST SCREENPLAY Babae sa Breakwater BEST PERFORMANCE Anghel sa Lupa Jomari Yllana (Minsan Pa) Dennis Trillo (Aishite Imasu) BEST CINEMATOGRAPHY Nora Aunor (Naglalayag) AND VISUAL DESIGN Jericho Rosales (Santa Santita) Babae sa Breakwater Anghel sa Lupa Malikmata

65 16th Circle Citations, 2005 BEST PERFORMANCE BEST PICTURE Maricel Soriano (Inang Yaya) Masahista (Brillante Mendoza) Cherry Pie Picache (Kaleldo) Entire Cast (Inang Yaya) BEST SCREENPLAY Masahista Let the Love Begin 18th Circle Citations, 2007 BEST PICTURE BEST CINEMATOGRAPHY Foster Child (Brillante Mendoza) AND VISUAL DESIGN Endo (Jade Francis Castro) Masahista Paraiso BEST SCREENPLAY Foster Child BEST EDITING Endo Masahista BEST CINEMATOGRAPHY BEST SOUND AND AND VISUAL DESIGN AURAL ORCHESTRATION Death in the Land of the Encantos Masahista Foster Child Still Life BEST PERFORMANCE Tirador Coco Martin (Masahista) Entire Cast (Nasaan Ka Man) BEST EDITING Jaclyn Jose (Masahista) Endo John Lloyd Cruz (Dubai) Tirador

BEST SOUND AND AURAL ORCHESTRATION 17th Circle Citations, 2006 Endo BEST PICTURE Still Life Inang Yaya (Pablo Biglang-Awa and Tirador Veronica Velasco) BEST PERFORMANCE BEST SCREENPLAY Jason Abalos (Endo) Inang Yaya Cherry Pie Picache (Foster Child) Eugene Domingo (Foster Child) BEST CINEMATOGRAPHY Ron Capinding (Still Life) AND VISUAL DESIGN Inang Yaya Kubrador 19th Circle Citations, 2008 BEST PICTURE BEST EDITING Adela (Adolfo Alix, Jr.) Inang Yaya Serbis (Brillante Mendoza) Kubrador BEST SCREENPLAY BEST SOUND AND Adela AURAL ORCHESTRATION Serbis Inang Yaya

66 BEST CINEMATOGRAPHY AND VISUAL DESIGN BEST PERFORMANCE Adela Janice de Belen (Last Viewing) Serbis Anita Lina and Rustica Carpio (Lola) Ensemble (Biyaheng Lupa) BEST EDITING Meljon Guinto (Bakal Boys) Adela Serbis 21st Circle Citations, 2010 BEST SOUND AND AURAL ORCHESTRATION BEST PICTURE Adela Himpapawid (Raymond Red) Serbis Ang Damgo ni Eleuteria (Remon Siega Zuasola) BEST PERFORMANCE Punerarya, Shake Rattle & Roll 12 (Jerrold Anita Linda (Adela) Tarog) Paolo Paraiso (Imoral) Ronnie Lazaro (Yanggaw) BEST SCREENPLAY Carlo Aquino (Baler) Himpapawid Ang Damgo ni Eleuteria Punerarya 20th Circle Citations, 2009 BEST PICTURE BEST CINEMATOGRAPHY Bakal Boys (Ralston Jover) AND VISUAL DESIGN Last Viewing (Roni Bertubin) Himpapawid Biyaheng Lupa (Armando Lao) Ang Damgo ni Eleuteria Engkwentro (Pepe Diokno) Punerarya

BEST SCREENPLAY BEST EDITING Biyaheng Lupa Himpapawid Last Viewing Ang Damgo ni Eleuteria Ang Panggagahasa kay Fe Punerarya Last Supper No. 3 Bakal Boys BEST SOUND AND AURAL ORCHESTRATION Punerarya BEST CINEMATOGRAPHY Himpapawid AND VISUAL DESIGN Ang Damgo ni Eleuteria Biyaheng Lupa Engkwentro BEST PERFORMANCE Carla Abellana (Punerarya) BEST EDITING Raul Arellano (Himpapawid) Engkwentro Last Viewing Bakal Boys 22nd Circle Citations, 2011 BEST PICTURE BEST SOUND AND AURAL Haruo (Adolf Alix, Jr.) ORCHESTRATION Bahay Bata (Eduardo Roy, Jr.) Biyaheng Lupa Señorita (Vincent Sandoval) Engkwentro Bakal Boys

67 BEST SCREENPLAY BEST CINEMATOGRAPHY Niño AND VISUAL DESIGN Ang Sayaw ng Dalawang Kaliwang Paa Kalayaan Bisperas Ang Paglalakbay ng mga Bituin sa Gabing Haruo Madilim Señorita Diablo Kamera Obskura BEST CINEMATOGRAPHY Qiyamah AND VISUAL DESIGN Thy Womb Teoriya Bahay Bata BEST EDITING Bisperas Qiyamah Señorita Aparisyon Jingle Lang ang Pahina BEST EDITING Kalayaan Señorita Thy Womb Haruo BEST SOUND AND AURAL ORCHESTRATION BEST SOUND AND AURAL ORCHESTRATION Kalayaan Ang Sayaw ng Dalawang Kaliwang Paa Qiyamah Bahay Bata Ang Paglalakbay ng mga Bituin sa Gabing Niño Madilim

BEST PERFORMANCE BEST PERFORMANCE Diana Zubiri (Bahay Bata) Nora Aunor (Thy Womb) Arthur Acuña (Niño) Kristoffer King (Oros) Fides Cuyugan-Asensio (Niño) Ama Quiambao (Diablo) Sharmaine Centenera-Buencamino (Niño) Fides Cuyugan-Asensio (Aparisyon) Vincent Sandoval (Señorita) Kristoffer Martin (Oros) Alfred Vargas (Teoriya)

24th Circle Citations, 2013 23rd Circle Citations, 2012 BEST PICTURE BEST PICTURE Porno (Adolfo Alix, Jr.) Qiyamah (Gutierrez Mangansakan II) Mga Anino ng Kahapon (Alvin Yapan) Ang Paglalakbay ng mga Bituin sa Gabing Babagwa (Jason Paul Laxamana) Madilim (Arnel Mardoquio) Badil (Chito Roño) Kalayaan (Adolfo Alix, Jr.) Dukit (Armando Lao) Ang Kwento ni Mabuti (Mes de Guzman) BEST SCREENPLAY Pagpag (Frasco Santos Mortiz) Ang Paglalakbay ng mga Bituin sa Gabing Quick Change (Eduardo Roy, Jr.) Madilim Aparisyon BEST SCREENPLAY Kalayaan Porno Oros Mga Anino ng Kahapon Qiyamah Babagwa Thy Womb Badil Debosyon Dukit

68 Ang Kwento ni Mabuti BEST FIRST FEATURE Quick Change Angustia (Kristian Sendon Cordero) Puti (Miguel Alcazaren) BEST CINEMATOGRAPHY Ang Turkey man ay Pabo rin (Randolph AND VISUAL DESIGN Longjas) Lauriana Mga Anino ng Kahapon Badil 25th Circle Citations, 2014 Debosyon BEST PICTURE Dukit no winner and nominees The Guerilla is a Poet Ang Kwento ni Mabuti BEST SCREENPLAY Pagpag no winner and nominees Porno Quick Change BEST CINEMATOGRAPHY Sonata AND VISUAL DESIGN Dagitab BEST EDITING Mariquina Porno Sonata Maria Pagpag Badil BEST EDITING Dukit Mariquina Dagitab BEST SOUND AND AURAL ORCHESTRATION Nick and Chai Porno Sonata Maria Babagwa Badil BEST SOUND AND Debosyon AURAL ORCHESTRATION Dukit Sonata Maria Pagpag Dagitab

BEST PERFORMANCE BEST PERFORMANCE Carlo Aquino (Porno) Eula Valdes and Nonie Buencamino Jhong Hilario (Badil) (Dagitab) Angel Aquino (Porno) Nonie Buencamino (Dagitab) Nora Aunor (Ang Kwento ni Mabuti) Eula Valdes (Dagitab) Adrian Cabido (Lauriana) Krigi Hager (Sonata Maria) Carlo Cruz (Mga Anino ng Kahapon) Bing Pimentel (Mariquina) Allen Dizon (Lauriana) Ensemble cast (Sundalong Kanin) Entire cast (Porno) Cherie Gil (Sonata Maria) BEST FIRST FEATURE Dick Israel (Badil) Dagitab (Giancarlo Abrahan V) Alex Vincent Medina (Babagwa) Nick & Chai (Che Escala and Wena Daniel Padilla (Pagpag) Sanchez) Joey Paras (Babagwa) Sonata Maria (Bagane Fiola) Sue Prado (Ang Kwento ni Mabuti) TJ Trinidad (Mga Anino ng Kahapon)

69 26th Circle Citations, 2015 BEST PERFORMANCE BEST PICTURE Lou Veloso (Da Dog Show) Da Dog Show (Ralston Jover) Alessandra de Rossi (Bambanti) An Kubo sa Kawayanan (Alvin Yapan)Ari: Entire cast (Mga Rebeldeng May Kaso) My Life with a King (Carlo Enciso Catu) Entire cast (Salvage) Balikbayan # 1 Memories of Mercedes Cabral (An Kubo sa Overdevelopment Redux III (Kidlat Kawayanan) Tahimik) Mercedes Cabral (Da Dog Show) Taklub (Brillante Mendoza) Nora Aunor (Taklub) Mga Rebeldeng May Kaso (Raymond Red) Ronwaldo Martin (Ari: My Life with a King) BEST SCREENPLAY Julia Montes (Halik sa Hangin) Da Dog Show Micko Laurente (Bambanti) An Kubo sa Kawayanan Ari: My Life with a King BEST FIRST FEATURE Balikbayan # 1 Memories of Ari: My Life with a King (Carlo Enciso Overdevelopment Redux III Catu) Mga Rebeldeng May Kaso Dayang Asu (Bor Ocampo) Salvage Miss Bulalacao (Ara Chawdhury) Taklub

BEST CINEMATOGRAPHY AND VISUAL DESIGN Balikbayan # 1 Memories of Overdevelopment Redux III An Kubo sa Kawayanan Bambanti Da Dog Show Halik sa Hangin Miss Bulalacao Mga Rebeldeng May Kaso Salvage Taklub

BEST EDITING Salvage Balikbayan # 1 Memories of Overdevelopment Redux III Da Dog Show Halik sa Hangin An Kubo sa Kawayanan Mga Rebeldeng May Kaso Shapes of Crimson

BEST SOUND AND AURAL ORCHESTRATION Balikbayan # 1 Memories of Overdevelopment Redux III Ari: My Life with a King Halik sa Hangin

70 THE CIRCLE ng Film Desk ay binubuo ng mga miyembro ng akademya na sa loob nang matagal-tagal na ring panahon ay naging mga matalas Ana tagamasid 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 understandingas 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).

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.

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).

71 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.

J Pilapil Jacobo is Assistant Professor at the Departments of Filipino and English of the School of Humanities of the Ateneo de Manila University, where they teaches literature, theory and criticism, and cultural studies. They graduated with the Ph.D. in Comparative Literature from the State University of New York at Stony Brook through a J. William Fulbright Fellowship. They is a founding co-editor of Queer Southeast Asia: A Journal of Transgressive Art. As a critic and scholar invested in tropicality, they is currently working on manuscripts on metaphoric moods, catastrophic sentiment, and toxic tropology. They also writes poetry in two Philippine languages. At the Department of English of the Ateneo de Manila, they regularly teaches the elective Tropical Modernism, a course that imagines a productive counterpoint between Euro-American literary modernism and the tropical discourses of the Global South.

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

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 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 (Chair, 2016-2017) 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 works for an international humanitarian organization.

72 The 27th 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

A C K N O W L E D G E M E N T 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 Sir Anril P. Tiatco (UPD-OICA) Pol del Mundo ClarkLui Enterprises Megasupply Carmina Sheilah E. Papa R. Jordan P. Santos and all YCC friends from media, academe and the arts

Film Desk of the Young Critics Circle, Current Members: Aristotle J. Atienza, 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, Choy Pangilinan, 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 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.

Presidents, Young Critics Circle: Galileo S. Zafra (1996-1997); Romulo P. Baquiran, Jr.

73 (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).

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); Jose S. Buenconsejo (2016); Elizabeth L. Enriquez (2016); Zosimo Lee (2017).

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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