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Upholding human rights — then a sacred covenant between the government and the people it safeguards — has been overtaken by the need to rid the streets of addicts and criminals. It offered escape, eased the conscience, and perpetrated a feeling that everything is, or will be, fine. It opened perspectives, rationalizing the madness with discourse that elucidate with both conviction and precision the current state of the nation.

Filmmakers, divided by process, taste, and politics, are united by their need to express opinions. And they did express this with all the might they can muster, turning into the year when cinema became that beacon of everything that is right in an age when everything feels wrong. The myriad of voices, opinions, themes, and narratives bravely put forward by filmmakers proved that despite the scathing and boisterous discord, there will always be culture to put everything in the arena of productive discourse.

This was most apparent during the Metro Manila Film Festival, which was abruptly reformed from a blatant cashcow into a showcase of intelligent and affecting craftsmanship. Moviegoers, who have been trained by Hollywood and its local copycats to treat cinema as a mere commodity for instantaneous happiness, are now discussing films, debating, arguing, even fighting — all in the name of their personal assessment as to what makes a film good and worthwhile.

It is no longer enough that they laugh or cry. So coming up with just 15 movies to sum up an entire year marked by division and diversity is a daunting task. Sheron Dayoc concocts a beguilingly lyrical and emotionally exhaustive exploration of the Mindanaoan conflict through the story of recently widowed Satra, played evocatively by newcomer Laila Ulao.

Satra gets trapped in the middle of clan wars, painfully reminding Fatima of the humanity she has lost after suffering the same fate. Hele sa Hiwagang Hapis. Its profoundly comprehensive coverage of a homeless couple searching the city for their kidnapped baby provokes sensibilities, allowing the restoration of some humanity to those whose private lives have become public by societal decay.

Alvin Yapan bravely recreates the massacre of 4 hapless gold miners in a small village in Caramoan, exposing not just the blatant injustice that was committed against the community but also the discordant definitions of what justice is or should be in a society confused by so many overlapping conflicts and issues.

Ang Babaeng Humayo. Lav Diaz once again looks into the past to paint the melancholies of the present. Essentially a revenge movie where a wrongly imprisoned woman, convincingly played by Charo Santos-Concio, plots to kill the man who was responsible for the injustice committed against her, the film morphs into a seething portraiture of a society of outcasts united by shared experiences with institutionalized inequity.

In a regime that exploits a national tendency to forget even the most painful of atrocities, Gutierrez Mangansakan II dutifully and unwaveringly presents unadorned, thorough accounts of the Martial Law experiences of people from the margins.

Die Beautiful. It has just the right amount of humor and drama to elevate the story of a trans woman, played convincingly by Paolo Ballesteros, who even in death wishes to flaunt the queerness that has dealt her brief life with aches and struggles. Inspired by a Cebuano legend that parents use to scare children to go to sleep, the film expands on the household fiction, turning it into a document on flawed masculinity, of men and their fear of commitment.

Sunday Beauty Queen. Compelling from start to end, the documentary proves that truth, when patiently sought out, can trump even the most cleverly crafted fiction. With that one decision, the film unmasks celebrity, forcing a very real person whose fame has turned him into a character, to assess the faults and pains of his own mortality in the face of an immortality his dehumanized legacy has inadvertently granted him.

However, the delightful inflections that he peppers the film with — from the delightful courtship between the two lovers via text messages to the unabashed references to other romances it heavily borrows from — make everything feel brand new. F rancis Joseph Cruz litigates for a living and writes about cinema for fun. The first Filipino movie he saw in the theaters was Carlo J.

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PH Embassy In Korea Opens 17th Sentro Rizal, Features Pinoy Films of the Republic of the Philippines in Seoul, Korea last March 6, Movie writer and critic Oggs Cruz shares his top 15 picks for Filipino production companies are quite prolific, and was no exception. That said, what are the Best Pinoy Movies of ? We here at.

The 10 Best Pinoy Movies of 2018

(webcamsexvideo.club) Even if has been a mostly stressful year, at least we had some Although the Pinoy movie landscape is not new to LGBT. Pinoy Films. Indie Films, Mainstream, Love, Family, and Filipinos. Refine See titles to watch instantly, . Patay na si Hesus (). 90 min |.

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