Author Archives: Joel David

About Joel David

Teacher, scholar, & gadfly of film, media, & culture. [Photo of Kiehl courtesy of Danny Y. & Vanny P.]

September 28, 2026

Full Beast Mode

Beast
Directed by Lawrence Fajardo
Written by Jim Flores

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To hear the cacophony of responses to Lawrence Fajardo’s Beast, currently screening in Manila as part of the ongoing Puregold CinePanalo Film Festival, would be tantamount to missing out on its laudable achievements. One might even be inclined to agree with its most extreme appreciators’ declaration that it’s the director’s best work – fulsome praise enough, considering Fajardo’s stature as one of the best Filipino filmmakers in the current millennium.

Lolo Omeng tells Pepe about the legend of the abandoned woman whose tears watered her crops.

11011What makes the entry singularly remarkable is its left-field status in the director’s track record. With over forty film and TV titles to his directorial credit, and an even larger number of works he edited (including his own, as in the current case), nothing in the list can be categorized as an apparently children’s tale. The choice of unexpected material may be reminiscent of David Lynch deciding to abandon offbeat topics to narrate a straightforward adaptation of a news item in The Straight Story (1999), and Beast works for the same reason: whether or not Fajardo avoided the material, his accumulation of skills in diametrically opposed subjects could have not only fortified any longing he was repressing, but also inspired him to determine how he could enrich such topics using counter-intuitive skills sets.

In the tale, the lover promises to return from Manila but never shows up again.

11011The closest Pinas cinema has come to such a parallel attempt was when action specialist Romy Suzara, toward the end of his career, tackled queer-themed substance in Tinik (2013). His triumph was not as definitive as Fajardo’s, but neither was the attempt an embarrassment for him. One could initiate an appreciation of Beast by stating that it purveys childlike wonder, but ends up far from children’s entertainment. The trailer element that might imprint on viewers would be the spectacle of a water buffalo that speaks adult human language, although this proceeds from the opening episode where the primary character, a farm tenant, narrates a tale to a child who hangs around, like a virtual surrogate son, of a barrio lass whose lover took leave to work in the capital city and never returned: her farm menagerie kept imploring her to move on, but she insisted on looking forward to his reappearance in her life.

The landlord and his lawyer inform Omeng that his land will be sold.

11011This premise is simple enough, except that history refuses to be molded into such a neat outline. While the thesis draws from European sources such as tales of the fairy-like vila and partakes of topflight feminist entertainment in Keith Deligero’s little-seen Lily (2016), real-life contemporary abandonment in the country is performed statistically by Filipinas, who comprise the majority of overseas migrant workers. Beast’s creatives are sufficiently mindful of this irony and are careful to incorporate it in their narrative resolution, although for discovery’s sake we should desist from spoiling it for potential audiences.

Bob speaks to Omeng for the first time.

11011Bob, the incorrigibly garrulous carabao, is voiced by stage and screen veteran Lou Veloso, who demonstrates how a sufficiently gifted performer may be saddled by costumes or makeup or, in this case, absence from the screen, yet still be capable of a larger-than-life presence. This is facilitated by the dynamic he forms as comic foil to lead actor John Arcilla, who not surprisingly makes every effort to divest himself of the neurotic-strongman persona he assumed in Jerrold Tarog’s Heneral Luna (2015), but winds up rendering a characterization of such rarely realized pathos that it could be easily misrecognized as a documental depiction of typical rural reticence: the fact that Bob first chatters after Lolo Omeng is informed that he will lose what he expected was a lifetime tenancy, suggests the traumatization that our citizens have to find ways of handling on their own.

Omeng takes Bob to Manila to search for a niece who never returned.

11011The performative groundwork laid by this theater-honed pair, complemented by the disciplined delivery of an ensemble who might be recognizable to viewers familiar with Fajardo’s multicharacter-reliant work, facilitates one of the more satisfying plot twists in recent local cinema – and we’re not even talking about narrative closure yet, when the story transcends the limitations that historical reality imposes on it. One may or may not come across the director’s own account of how, at some point in postproduction, he stopped worrying about technical finesse. Formalist evaluators may take him to task for it, but it only makes of Beast a genuine throwback to Pinas cinema’s Golden Ages productions, when entertainment (not to mention artistic confidence) was of such paramount importance that audience approval mattered more than critical or festival recognition.

11011In the best Third-cinema tradition, Beast relies on the acceptance of mass viewers out to seek some respite from a harried and cruel existence, and sneaks in political insight of such longstanding usefulness that audiences could wind up wondering just what hit them and return for surer answers and recurrent pleasures.

First published in The FilAm. Beast is produced by Puregold CinePanalo Film Festival, Wild Coyote Pictures, Butlak Banaag Studios, PostPro, Pelikulaw, and Allied Artists of Asia.

Leave a comment | tags: Commentaries | posted in Film Criticism

September 27, 2026

Biopic Blowbacks

By Joel David

Edjop
Directed by Katski Flores
Written by Jade Castro & Katski Flores

Silenced Nights
Directed by Lawrence Fajardo
Written by Troy Espiritu

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Reality has always had a conflicted relationship with art and literature; narrative forms provide a way of promising better representation, but rare is the item that succeeds on every possible level. In two concurrent Philippine film releases, we have tantalizing cases of works based on subjects with whom sufficiently informed netizens might be familiar. Katski Flores’s Edjop, in current general release in Metro Manila theaters, opened to highly appreciative reactions that were later tempered by reservations, mostly regarding its depiction of representatives of orthodox-left forces; Edgar Jopson, its central character, was renowned among progressive sectors for taking a critical stance vis-à-vis his entrepreneurial father’s logical ideal, the authoritarian Ferdinand Marcos Sr.’s presidency. Although he initially distanced himself from extremist student organizations, a series of encounters ranging from Marcos’s classist insult (“You’re only a son of a grocer” became a standard pop-culture retort until it was superseded by “You’re nothing but a second-rate trying-hard copycat”) to his experience in labor organizing, led to his radicalization.

11011His insistence on operating in dangerous territory led to his untimely death, just as the movement he had joined was starting to upheave, culminating in the violence-ridden split between reaffirmists (of Jose Ma. Sison’s leadership) and rejectionists. The conflict manifested in the film’s source material, as Benjamin Pimentel’s 1989 book Edjop: The Unusual Journey of Edgar Jopson was revised by the author and published in 2006 as U.G.: An Underground Tale.[1] The film by Katski Flores takes a further step from Jopson’s story by framing it within his daughter Joyette’s coming to terms with his Jesuit-inspired “man for others” record, necessarily keeping distance from family and friends for their safety’s sake.

Elijah Canlas as Edgar Jopson and Jodi Sta. Maria as his daughter Joyette.

11011The film demands an acceptance of an updated variation of leftist idealism in reversing the nation-as-family formulation, where Joyette arrives at the realization that her father’s preoccupation with the national-democratic project was his way of upholding the family he could not always be with physically. The accusation of ideologically motivated villainizing was apparently initiated on the social network by an anonymous legacy custodian of Luis Jalandoni, who was chair of the National Democratic Front of the Philippines and Jopson’s ally in labor organizing. A more extensive elaboration should proceed from these critiques, although the immediate and unfortunate observation that should be emphasized here is that the film would not have been less effective if a less harsh depiction of the left’s hard-liners were utilized; as it stands, the centrist position renders Edjop’s rationalization of familial negligence vulnerable to the ideal requisites of feminist identity politics.

11011A concurrent release, though not yet in Philippine theaters, would be Lawrence Fajardo’s Silenced Nights, the country’s first competition entry in the Toronto International Film Festival. Like Edjop, it narrates the tale of a victim of fascist repression, in this case situated in the more recent presidency of Rodrigo Duterte. Unlike Edjop, however, SN is based on a figure who would have remained a nobody if he had not been the most ironically celebrated victim of Digong’s disastrous war on drugs: Kian delos Santos, a 17-year-old student who was waylaid, during the “killingest” night of Duterte’s presidency, by rogue police officers out to make a quick killing by literally performing a quick killing, so they could collect the cash rewards handed by the government to anyone who slays alleged drug dealers.

Historical sources: Ferdinand Marcos Sr.’s meeting with Edgar Jopson et al. (left); protesters denounce the killing of Kean delos Santos (right).

11011In line with earlier biopic treatments that Philippine audiences would be familiar with, SN fictionalizes the account of delos Santos’s killing, even using a different name for the barely present character, and allowing the audience to comprehend as much as could be gleaned from the responses of his mother, as well as an accidental witness and an investigative journalist; their slum community, paradoxically named Happyland, features breathtaking vantage points that culminate in the funeral processions of extrajudicial killing victims. The trauma of commonplace EJKs, exacerbated by the depraved cheers of so-called diehard Duterte supporters (DDS), makes any form of contextual exposition redundant; the self-incriminating voice of the President alone would have been more than adequate in recalling for contemporary viewers the source of social anxieties that somehow still manage to plague us.

11011Thankfully, SN completes its screening several minutes sooner than Edjop does. Its director is also demonstrating peak ability in suspense filmmaking, with the streaming triumph of The Strangers (2012), overlooked by critics but not by Pinas-cinema afficionados on YouTube, affirming that SN actually draws its most effective skills set from horror production. In contrast with Edjop, it refuses to provide any sense of hope for anyone caught up in the web of fascist-induced terror, and turns the DDS curse on itself: one can wind up inspired and exhilarated by the very act of experiencing a filmed entertainment that amounts to virtually irrefutable condemnation of the grossest human-rights failure of any Philippine presidency since the regime of the man who once vilified Edgar Jopson to his face.

Nico Antonio & Dylan Ray Talon as EJK witness and supportive pal respectively; several EJK victims are simultaneously buried the same day.

Note

Published September 30, 2026, in The FilAm as “2 Tales of Fascist Repression.” Edjop was produced by Open Water Productions, The Mad Goats, & Narra Post-Production Studios, while Silenced Nights was produced by Quantum Films & House on Fire.

[1] An early first-person account where the author endured and survived a New People’s Army kangaroo-court trial was Robert Francis B. Garcia’s To Suffer Thy Comrades (2017). An ambitious, sprawling, conflict-ridden but deeply moving narrative underpins the text edited by Susan Quimpo and Nathan Gilbert Quimpo, titled Subversive Lives: A Family Memoir of the Marcos Years (2012), featuring material provided by their siblings and other family members. The most recent salvo is Deeper Ground, Darker Shadows: The Making of a Mindanao Rebel (2026) by Eddie L. Quitoriano, a recollection of an insider’s extensive local and global odyssey in seeking assistance for the insurgent movement that, like the aforementioned narratives, resulted in the author’s distress and eventual disillusionment. The cumulative effect of such concerned critical literature suggests that any apologist for Jose Ma. Sison’s leadership will be compelled to explicate why its position has managed to maintain the radical edge it once claimed to possess.

Leave a comment | tags: Commentaries | posted in Film Criticism

September 20, 2026

Only Star Left Standing

By Joel David

Honor Thy Mother (Episodes 1 & 2)
Directed by Onat Diaz & Dolly Dulu
Written by David Franche Diuco

Amid all the usual prestige vehicles for each and every aspiring Philippine film practitioner angling for some award or other, a pair of teaser episodes has been generating buzz of a different, implausible sort. The material is modest enough to enable most viewers to predict the moral arc that the story will be observing: a young mother is forced by her entrepreneurial father to devote her best years to maintaining the top industry stature of their soda product. She winds up neglecting her husband and daughter, with the former straying into the arms of her former best friend and the latter, forced by a courtroom to decide, expressing preference for her loving but improvident father.

After members of the press have gone, “chairmom” Diana Aragon unsheathes her claws in interrogating her staff on what went wrong. [Screen cap by the author]

11011The series opens with a prominent global burger chain agreeing to exclusively feature Cala Soda in their outlets, but a series of unfortunate incidents culminates in an unmitigated PR disaster: the festive residents of a rural community are felled by food poisoning, and Cala Soda appears to have been the cause. The burger company cancels their planned partnership forthwith, and the stress of attending to several competing demands results in the now-mature career woman, dubbed “the nation’s chairmom,” suffering a stroke that lands her in hospital. The media frenzy over the incident picks up the story of Diana Aragon’s long-estranged daughter, since her death would raise the issue of inheritance. Amid the internet-era frenzy of strangers swarming the hospital claiming to be Aragon’s daughter, a young woman dressed as an orderly is recognized by Diana’s covetous brother as Patricia, Diana’s offspring.

11011Diana’s immobilization becomes the opportunity for the rest of the supporting characters to present their backstories, and for people unfamiliar with the state of Pinas telenovela production (as I am, regrettably), the actors for the most part range from striking to excellent, promising future delights when their roles can be further developed. The directors also exhibit a fluency with the quirks of contemporary TV-drama development and handling, constantly finding ways to take the material to the brink of parody without allowing it to topple over and embarrassing themselves, not to mention their characters. (The debut film of one member of the directorial tandem, Dolly Dulu, was the last entry in the study I completed, titled Canon Decampment.)

As a young mom, Diana is devastated when her daughter Patricia rejects her in favor of her estranged husband and his mistress. [Screen cap by the author]

11011Hence Honor Thy Mother is suffused with a youthful sensibility beyond its casual deployment of digital-media phenomena. But what has aroused excitement even among elderly observers is its unexpected packaging of a throwback to the long-concluded Second Golden Age of Philippine cinema: it allows Pinas pop culture’s final multimedia star, Sharon Cuneta, to take center stage, deactivates her from the middle of the first episode to its close, then finally unleashes her on an audience who might still be wondering whether movie-queen stardom can still be possible in this day and age, especially after the death over a year ago of Nora Aunor.[1]

11011HTM is not only reminiscent of “Balot” (2023), the unexpectedly viral softdrink ad where a Cuneta impersonator sang her “Bituing Walang Ningning” lines to commemorate the cultural practice of bringing home excess food from a gathering in order to extend the celebration in other places and with other people. It also references a still-unreleased Aunor film, Adolfo Alix Jr.’s Kontrabida, where the late star paid tribute to her fans and associates by configuring herself as a forever-struggling has-been. (Both “Balot” and Kontrabida were also reviewed in The FilAm.)

Diana returns from hospital and sees Patricia with her father’s family at her home. [Screen cap by the author]

11011With HTM, one will have to accept that Cuneta exhibits the clear ability to match Aunor’s capacity of infusing her roles with camp and humor while still drawing out deep reserves of rage and pain. The role reaches far into her past as performer, to her best collaboration with Lino Brocka, Babangon Ako’t Dudurugin Kita (1989), but with undeniable evidence of keeping abreast of shifts in media values and expectations. The emotional and analytic intelligence on display is staggering and can hardly be contained by the medium, making her close observers wonder when she’ll be returning to hard-core film performance. Like Aunor, she could even be more than ready for the legitimate stage; all that’s missing is the kind of fire that induced her predecessor to keep seeking ways of pushing her limits in order to afford Philippine appreciators the opportunity to delight in witnessing our finest talents uncovering the fullest extent of their potentials.

Note

Previously published September 20, 2026, in The FilAm as “Sharon Cuneta Finds Dramatic Depth in Honor Thy Mother.” The series is produced by ABS-CBN Studios, Dreamscape Entertainment, & GMA Pictures, and is available overseas on Amazon Prime Video. Many thanks to Jek Josue David for providing access.

[1] Running for less than an hour each and released September 10, 2026, the first episode is titled “Twist of Fate” while the second is “Old Wounds.” On September 17, two more episodes, “Defiance” and “Danger,” were broadcast. The series is scheduled to run at the rate of two episodes every Thursday to the end of October 2026, for a total of fourteen episodes.

Leave a comment | tags: Commentaries | posted in Film Criticism

September 10, 2026

Canon Decampment: Malay-Language Films by Filipinos

By Joel David

Desktop mode is strongly recommended.
Click here to go to the Canon Decampment landing page.

Chronological information drawn from the now-defunct Singapore Film Locations Archive website:

1955 – Elephant Girl (Gadis Liar), dir. Eddy [sic] Infante, prod. Shaws & Malay Film Productions.

1957 – Kembali Saorang (One Came Back), dir. Ramon Estella, prod. Malay Film Productions.

1957 – Taufan (Typhoon), dir. T[eodorico] C. Santos, prod. Malay Film Productions.

1958 – Anak Pontianak (Son of Pontianak), dir. Ramon Estella, prod. Malay Film Productions.

1958 – Azimat (The Seal of Solomon), dir. Rolf Bayer, prod. Malay Film Productions.

1958 – Sergeant Hassan, dir. Lamberto Avellana, prod. Malay Film Productions.

1958 – Mata Hari (The Rape of Malaya), dir. Ramon Estella, prod. Malay Film Productions.

1958 – “Singapore” segment of Obra Maestra, dir. Efren Reyes, prod. People’s Pictures.

1959 – Samseng (Gangster), dir. Ramon Estella, prod. Malay Film Productions.

1959 – Saudagar Minyak Urat (Love Crazy), dir. Ramon Estella, prod. Malay Film Productions.

1959 – Black Gold, dir. Rolf Bayer, prod. Shaw Brothers.

1963 – Raja Bersiong (King of Dracula), dir. Ramon Estella, prod. Cathay-Keris.

1963 – Darah-Ku (My Blood), dir. Ramon Estella, prod. Maria Menado Productions & Cathay-Keris.

1963 – Bunga Tanjong (Cape of Flowers), dir. Ramon Estella, prod. Maria Menado Productions & Cathay-Keris.

1964 – Pontianak Kembali (The Pontianak Returns), dir. Ramon Estella, prod. Maria Menado Productions & Cathay-Keris.

1964 – Melanchong ka-Tokyo (Holiday in Tokyo), dir. Ramon Estella, prod. Malay Film Productions.

1964 – Dupa Chendana (The Enchanted Island), dir. Ramon Estella, prod. Malay Film Productions.

1965 – Pusaka Pontianak (The Accursed Heritage), dir. Ramon Estella, prod. Malay Film Productions.

Text originally posted on Facebook on March 22, 2025:

The most tiresome and pricey viewing project I’ve set for myself (part of a years-long canon-revaluation project) is also the most rewarding: the Malay-language films made by Philippine directors. The reasons why Sir Run Run Shaw set out to recruit several accomplished local talents ought to be a separate account in itself, starting with how he wound up from Shanghai to Hong Kong to Singapore and then-Malaya. But what really concerns us here is the fact that almost all the films were preserved and are now stored at the Asian Film Archive. When it was still the Singapore Film Archive, it had a YouTube channel, which was how Teddy Co alerted me to their availability.

11011I did manage to save everything that they posted, but only two of them had English subtitles: one by Bert Avellana was noteworthy enough, though the more ambitious effort by his occasional scriptwriter, Rolf Bayer, was for the most part dismissible. An entry by Teodorico Santos, who wrote Sisa and Sawa sa Lumang Simboryo for Gerry de Leon, was accomplished enough and exists in the irony that nearly the rest of the Santos films, all made in the Philippines, are lost. Another significant matter is that information uploaded on the Internet Movie Database may be either incomplete or in significant error, whereas the SFA’s extensive holdings serve to affirm the correctness of their data.

11011Teddy said to pay special attention to the Ramon Estella entries, so I saved those for last, and he’s right. I’ve got only three more to complete my coverage, and he occasionally surpassed his kabayans, placing most of his work on the level of still-to-be-discovered masterpieces by Pinas film observers. Even more impressive is the fact that he worked superhumanly fast, completing his first entry in much less than a month, and had no trouble with any kind of genre assignment – even if in Pinas he became known for controversies with left-leaning material before he left for overseas work. No wonder Shaw prevailed on him to make more movies after his amazing debut, including a few contributions to the much-coveted pontyanak (horror) franchise.

11011Initially I was planning on scouting for Malay speakers and asking them to translate for me. But then came AI and with it, a proliferation of textual services. I made the early mistake of looking for the least expensive transcription service and got ripped off; the credit company disabled overseas payments but I couldn’t renew my card until I got my visa back from immigration (I’d petitioned for a new status, is why).

11011This time I picked out a service that evaluators recommended, and got rewarded with far better and more comprehensive textual material. Free online translation services abound so I got the files changed (Malay to English), but that introduced a few problems, primarily because our language families tend to be gender-neutral. Fortunately, even with the earlier service, inadequate titling worked out because the languages are similar enough; several Malay words resemble those of our languages. It just slowed down my initial viewing, since I had to constantly refer to the subs to correct them.

11011The culture of reserve is understandably more pronounced among our neighbors, so Filipinos had the advantage of setting up provocative situations and responses. My fave among the Estellas is Saudagar Minyak Urat (1959), which is creditable enough to match my best memories of the now-lost Manuel Conde movies. The fact that he was also an accomplished painter and musician accounts for a significant part of his abilities, but for sure there’s a whole lot more in his bio to uncover. Make room then for two severely neglected names in our pantheon – Yoyong Fernandez (who has enough available product to convince anyone willing to watch, courtesy of LVN stalwart Mike De Leon) and now the completely overlooked Ramon Estella.

Addendum – The obituary note on Teddy Co posted on the Ámauteurish! blog on November 1, 2023, after which I dedicated the Canon Decampment entry on Ramon A. Estella to him:

Teddy Co is a name you’ll encounter at unusual junctures in my writing. Whenever we touched base, he’d proffer some essential info about an article or book I just published or on a topic I’d been looking up. We were acquaintances since freshman year at the national university, but I knew we shared a significant interest when we found ourselves enrolled in a film subject, years before our institute (later a college) offered its own program. He and his Chinoy batch mates entertained the rest of the class by making fun of the teacher’s artsy pretensions – something I’ll always remember about him, this willingness to laugh at sacred cows. During a serious moment, when we asked said teacher when the university would be making a full program available, she responded by saying that she didn’t believe just anyone should be able to study the field. Only the best ones she could find would be rewarded by her with scholarships to France. So when a program did become available, offered by a rival unit, and she kept insisting that only she had the right to offer it, you can imagine what Teddy had to say about that.

11011Teddy was one of those “difficult” friends from whom you might have to keep some distance, especially when your differences in ideologies or career choices prove irresolvable. But as if to make up for his absence, he’d provide some unusual collectible, stamped with his brand of impish humor. Along the way, you’d learn about how he’d been cultivating options in some neglected area of film practice – disappointing some other people you’d wish he’d been more considerate in handling. Then again he was always busy, juggling several concerns at any given time, and always on the mark about his participation in each one of them.

11011During our last extensive face to face, he mentioned two legacy projects he was working on, and right at that moment I knew no one else could pull it off like he could. One would have been an online website of the entire Filipino filmography, eliminating the necessity for the Western-favoring Internet Movie Database; the other would have been his memoir, an even greater contribution to world film lore, had he been able to complete it. But he moved too fast, even in his illness, where again I had to keep my peace when he made clear to me a few years ago that he intended to seek alt-medical cures. His last message mentioned how he realized I was the one friend he had the longest. That may be so, but I would have been a better one if I’d picked another round of our epic quarrels to argue about his treatment. He’s one of the very few who leave unfillable gaps when they go.

Á!

Leave a comment | tags: canon | posted in Book

August 8, 2026

Blind Item Posts

By Joel David

Author’s note: I enjoin folks who might recognize any of these personalities to keep the information to themselves. “Receipts” of these accounts are not that difficult to access, and I make sure to possess whatever evidence I need.

BLIND ITEM #1

A few followers asked when I’ll be following through my threat to do more gossip writing than my well-being will allow. Problem is, I can’t provide something that everyone already knows about, aside from the usual limit of not having enough time. Retirement somewhat eased the latter difficulty, though not significantly and possibly delusively.

11011But then an irresistible opportunity presented itself. It involved a well-regarded production that generated well-concealed controversy on its own, made by people whose names would continue increasing in importance through the years. The cause of the aforementioned controversy is that the director decided to add a section that didn’t have the sanction of the author of the literary property on which the project was based.

11011A lot of mostly academic outrage against the resulting product ensued, leading to a court case where the author demanded that the scenes that offended him be excised. The producer, who also handled camera duties, remarked that the director praised his work for making the improvised characters look demonic. To the director’s credit, his sexual coming-out led to a somewhat healthier attitude toward the subjects he exploited. The author and his supporters complained that the new sequences emasculated his narrative – which ironically the director supported, in order to supposedly reveal how the hero was, in his own words, “dirtied.”

11011An entire clutch of speculative efforts arose, centered on recalling what the missing scenes were. (One of the belated revelations was that the best shot that I remembered in the entire film, occurred at the end of this now-missing section, after the producer had resigned from cinematographic duties and was replaced by his assistant.) Calls for the restoration of the lost sequence were answered by the producer’s admission that he had gotten rid of them, since before the contemporary era of releasing directors’ cuts, excised footage was treated nonchalantly and presumably allowed to deteriorate or disappear.

11011So why bring this up? In order to be consistent about moral judgment. When a censors chief like Maria Kalaw Katigbak or Manuel Morato announces that she destroyed sections or entire films that she considered immoral, I never hesitate to remark to anyone who’s interested that this should be counted as criminal activity, the destruction of the nation’s cultural patrimony. It should also motivate audiovisual artists to realize that they have even less of an excuse to complain of lost work during the digital age: always make sure that at least one extra copy exists, even if it happens to be owned by a so-called video pirate.

BLIND ITEM #2

Ever wondered, as I did, why the conflict between two prestigious film personalities instantly escalated to thermonuclear proportions? I wasn’t as clueless as a supposedly decades-old entertainment publication, whose writers wondered why one of them brought up the name of an actress who recently died. The pair were, as people used to say, involved with each other, while the person with whom this guy quarreled was perceived as responsible for her welfare.

11011And that should have explained everything, so why am I bringing it up here, anonymously at that? Because, hold on tight, the circumstance of the actress’s death isn’t as simple as the usual case of a health crisis that wasn’t properly monitored, as officially announced. The police files tell a different story. (Time for you to turn away if you’d rather not find out.)

11011She was found entirely naked, a cord around her neck – a case listed as suicide. And nope, I have no further information beyond this, including whether one or the other of the quarrelers was aware of what exactly happened. A very distressing situation, as you can imagine: no wonder the family declared “heart attack” as cause of death.

11011Speaking of which, make sure to schedule your annual health checkups, if you still haven’t had them in over a year. And never ever hesitate to look up resources for any issue pertaining to your mental health, including avoiding toxic personalities whenever you can.

Á!

Leave a comment | tags: Auteurs | posted in Philippine cinema

July 29, 2026

Canon Decampment: Moving Targets

By Joel David

Desktop mode is strongly recommended.
Click here to go to the Canon Decampment landing page.

No one has asked why the book is titled “Canon Decampment,” although when a college-age reader noted that the artillery weapon was misspelled, I knew at least that close reading still matters to some local students. Because close reading was more or less the whole point of that monstrous volume. Canon Decampment is a 400-plus-page book available only as a free PDF download (or blog-post series, for those who prefer millennial-style consumption). A few netizens asked “why no hard copies?” and I remarked how this unresolvable quandary pesters us at this stage in the open-access movement, where folks with money to burn demand printed volumes while those unable to afford latter-era codices hope to come across scanned copies posted by intrepid contemporary hacktivists.

11011What people in Pinas seem to find hard to believe is why anyone would write anything and earn nothing from it. But this reflects on scholars who possibly flourish in the practice but plug into the exigencies of commercial publishers and the excessive price-gouging of academic presses. The basic premise of the publish-or-perish model almost always requires expenses for research and writing, although foreign universities’ employment, with their vastly reduced teaching loads and regular replenishment of research funding, renders the process nearly invisible in its casualness. The publication itself, formerly in journal outlets that charged for supposed memberships in academic publications, has become increasingly, to use internet-era terminology, open-access, so much so that journals that still demand payments for publications are obliged to prove that they don’t belong on a list of predatory publishers.

11011There’s a long history of so-called hacktivists, or anticopyright activists, some of whom paid for their support for the open-access movement with their lives, and a few who have to move constantly from one sympathetic country to another as (usually American) intellectual-property lawyers keep hounding them. But how do academics thrive in this system? If it works out the way it should, remuneration arrives in the form of promotions and easier access to grants, along with the receptiveness of more specialized funding agencies. Needless to add, one would have a better chance at pulling off this feat outside a Pinas system, with a few culture-specific caveats. In my case, the Korean educational system’s obsession with global university rankings necessitated that professors focus on writing for journals, the higher-ranked (meaning Web of Science-listed) the better.

11011Which is why I retired with a number of books which were anthologies I edited and with only a short personally drafted volume plus a wish-list of book-writing projects that I could not pursue, ironically when I had the time and funding to pursue them. Meanwhile another volume I’d drafted and received some promotion points for was supposed to get published before I retired; when the deadline for acquiring university clearance approached in late 2023, I had no choice except to post it (which was fortunately recognized as a legitimate book format by the university). I called it the title it still possesses, to distinguish it from the other supposed-to-be-printed book – which eventually came out recently. I then confronted the fact that the initial digital edition of Canon Decampment was too loaded with questionable qualities, starting with the publisher’s insistence that the number of selected canonical film titles be kept as close as possible to the usual round number of 100.

11011I also realized that my recommendation of maintaining an inhouse screening committee could only be effective up to a point. No amount of rescreening a film that’s marked as, for example, too “third-cinema” (a legitimate category originally formulated by Latin American film specialists) will convince a group whose members don’t see any risk in being associated with the project. So a convergence of factors suggested a possibly doable though definitely difficult solution: collect my lump-sum retirement benefits to live on as the equivalent of a book-writing grant; maintain the high-powered film acquaintances I already had, some of whom I’d corralled into productive chat groups, and regard them as consultants if they didn’t mind intensive exchanges, or as specialists if they could be available for occasional references; invest in an initial outlay of a mini-iPad (so I don’t blame existing films if their quality is less-than-ideal), video-processing software, note-taking devices, and the best laptop and repair service money can buy, which turned out to be the LG made-in-Korea brand. I had to live in a place that minimized the expensiveness of Seoul and dispensed with the distractions of Manila, which meant that the campus-adjacent apartment I rented in Incheon City would be ideal for this purpose.

11011The only source of daily expenses would be the places where I could write – customer-friendly coffee shops or all-night non-drinking joints, both of which became available also around this time. I found it difficult to write during the day because I got used to spending that period for consultations and teaching prep, and to draft anything at home because I maintained the smallest livable space I could find and associated any of my residences with resting (a graduate-school habit you should try to avoid if ever those possibilities present themselves). I also recognized I needed to indulge in some self-pampering, so I don’t get to downgrade any film sample only to realize later that I happened to be annoyed by some incidental issue or other. As I also mentioned, I couldn’t set any upper limit to the films I’d be listing as part of the canon, although the final number, 350, turned out to be unexpectedly semi-round. This became increasingly complicated when I realized that several non-Filipino productions can be more recognizably “Noypi” than our own cinema, so my team of consultants came in with the rationale: our country was always “global” from the start, so if any successful self-respecting national cinema (like the US’s) counts any foreign product as one of its own without blinking, then so should ours.

11011I still carried over the original writing project’s specifications of requiring that the films be available, that they should be “feature” in nature even if they resembled documentaries, and that they should observe the standard international film-festival definition of full-length, which is at least 60 minutes running time. Readers of Canon Decampment and even of my previous output will be surprised to learn that the most fundamental lessons in critical practice that I picked up came from the organization whose members I never hesitate to bash for their accumulation of bad habits: the Manunuri ng Pelikulang Pilipino (Filipino Film Critics Circle), which I joined right after I completed my first undergraduate degree as its youngest recruit. That time, we always made sure to cover all the films that got released, rewatched those that deserved to be considered by the entire group, rewatched again if we had doubts about which title should get some prize or other, and subjected our impressions to intensive discussions, with consultations with the artists involved if that could help us arrive at better judgments; some of us even went over scholarly readings, although I was as busy with day jobs as everyone else to wonder why the others didn’t seem all that concerned with theory and history.

11011The gravest misgiving I had with the MPP process was the annual event on which its fame rested – their so-called Urian awards for excellence in several singular categories of film achievement. It didn’t make sense to declare only one winner each time every year, even when the community of artists influenced and competed with one another in order to come up with clusters of noteworthy titles. As a concrete if unsatisfactory (because quantitative) example drawn from the book, certain years could yield as many as sixteen titles during the past and current millennia. Even more awful was the observation I made of aspirants who were hopeful of winning, and who had to be good sports in congratulating someone else who did, and remaining on friendly terms with the members of the group. When some friends and I organized alternate critics’ organizations, we quickly realized that not only did one-time one-choice winners make no sense, so did the existence of fixed categories from one year to the next (and still selecting one winner every time, determined by people who had zero technical expertise). After I returned from graduate school in the early 2000s and refused a now-resentful member’s entreaty to rejoin the group, I noticed that the Urian jurors favored films that ran upward of five hours, sometimes as much as eleven. I already realized that the group would reward works that garnered raves from European film festivals, the higher-ranked the better, and that in my rewatching of films from the period, these did not necessarily stand tall against other titles from the same year.

11011These long-form works (to zero in on a specific preference) generated raves from cineastes just because the Urian declared their noteworthiness. I had my own list of favorite lengthy foreign films, up to sixteen hours in one case, that I’d rewatch at the drop of a hat and encourage friends to watch with me, so I asked each local long-form fan I would meet to accompany me to my first viewing of any of these Philippine titles. Out of several dozens of enthusiasts, zero responded. This meant that the old critics’ practice of rescreening titles that they felt deserved to be considered for awards honors never rubbed off on their followers – a few younger critics even proudly declare they never feel any need to rewatch anything they felt was worthy of discursive attention and openly denounce mass audiences, in the same spirit that national-university critics from an earlier generation, when “intentional fallacy” and “death of the author” buzzwords were in vogue, felt that it demeaned their stature to consult with artists behind any work: the difference being that today’s cultural rightists are more “honest” whereas the earlier left-conservatives had to be more discreet, their prejudices being revealed in their declarations, including their awards announcements. Canon Decampment is intended to demonstrate the advantages of jettisoning these unproductive approaches, as well as revealing the idiocies that beset parochial mindsets – including foreign ones – desperately grasping for explanations while rejecting the obvious anthropological sources, many of which remain within reach.

11011What about the film titles themselves? Serendipitously, the Canon Decampment project coincided with the realization on the part of video copyright owners that with only a few exceptions, the practice of hoarding titles whose window for profitability had expired would only result in a sad collection of non-performing assets with difficult-to-track piracy attempts and a resentful public. The last global pandemic intensified this dynamic, with studios that initiated the uploading of their products generating a lot more appreciative remarks even compared with film owners who claimed to possess a lot more quality products. So several of the more popular titles in the book may turn out to be available on streaming websites starting with YouTube, with a few others available on internet sources that charge minimal subscription fees. Only the most recent, as well as a short list of foreign-owned titles, can be accessed with some difficulty or expense, although friends in the know might be able to share the collections they happen to own. (The surest recourse would be to contact people in production via their social-network accounts; knowledgeable critic-collectors like Jojo Devera, a member of my circle of project consultants, will also be supportive of scholarly-research endeavors.)

11011With the completion of the book, I could be honest about admitting that conducting a historical overview of local cinema was worth the trouble and expense, but that canon formation was an activity I’d outgrown decades ago, as soon as I got out of the organized-critics racket, and had to reattempt only to show future generations how it should be done and raise the challenge for them to do better. As for the award-givers, whose most senior living member once organized a Stalinist-style roundtable that I couldn’t attend, and blasted me for failing to respect his gang when they, not I, were handing out “prestigious” and “unpurchasable” awards … they’re lucky the book’s strictly in digital format, so even if I tell them where they can stick it the only discomfort they’ll feel will be in principle, not in practice (yet).

Á!

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July 25, 2026

Canon Decampment: Chronologically Arranged List of Titles

By Joel David

Desktop mode is strongly recommended.
This link will open the PDF version.
The book’s landing page has been retitled
“Chronological Listing according to Auteur.”

Each title is linked to the director’s canon page; this means if other titles are included in her or their or his list, they will appear in chronological order. Some titles’ capsule reviews might also be combined with related titles in the list. Scrolling, searching, or selecting the film title from an initial listing will be the most useful way to reach your target film, but reading through a director’s other recommended works might also prove to be rewarding.

11011Earliest dates listed at the Internet Movie Database were used as information source, unless other reliable information could be accessed (e.g. from the filmmakers directly); in case of any apparent difference with IMDb, the definitive resource would be Simon Santos’s Video 48 blog, which posts layout ads scanned from newspapers, often containing announcements of opening dates. Those with incomplete definite dates are being determined, although a number of these might take longer to finalize – if at all. Dates with potential issues or that depart from IMDb’s or Video 48’s info are in red font, sometimes followed by clarifications at the end of the entry.

11011To move forward to other periods, click on any of the following instead of scrolling down: Second Golden Age (1974–1986); End of Second Golden Age to end of the past millennium (1987–1999); First decade of the millennium (2000–2009); Second decade of the millennium: first half (2010–2014); and Second decade of the millennium: second half to cutoff year (2015–2020).

[For a larger image, please click on picture.]

BEGINNINGS THROUGH FIRST GOLDEN AGE (1950–1959)
& END OF THE INTERVAL (1960–1973)

1937 [1 title]
111• December 10: Zamboanga: A Fanciful Tale of Moro Sea Gypsies (E de Castro).

1939 [1 title]
111• July 29: Giliw Ko (C Vander Tolosa).

1944 [1 title]
111• February 5: Dawn of Freedom (G de Leon & Abe Y).

1949 [1 title]
111• Month ٭٭: Lupang Pangako [incomplete] (SC de Guzman).

1950 [2 titles]
111• July 25: Kontrabando (G Fernandez).
111• November 7: Genghis Khan (M Conde).

1951 [1 title]
111• November 7: Sisa (G de Leon).

1953 [1 title]
111• July 4: Dyesebel (G de Leon).

1954 [3 titles]
111• June 2: Jack en Jill (MS Torres).
111• July 24: Prinsipe Teñoso (G Fernandez).
111• December 21: Pedro Penduko (G de Leon).

1955 [2 titles]
111• April 30: Higit sa Lahat (G Fernandez).
111• September 27: Sanda Wong (G de Leon).

1956 [2 titles]
111• March 20: Anak Dalita (LV Avellana).
111• June 8: Luksang Tagumpay [incomplete] (G Fernandez).

1957 [5 titles]
111• March 10: Sino ang Maysala? (A Garces).
111• May 24: Hukom Roldan (G Fernandez).
111• August 2: Mga Ligaw na Bulaklak (T Cayado).
111• Month ٭٭: Kembali Saorang (RA Estella); Taufan (TC Santos). Asian Film Archive records maintain only year of release.

1958 [3 titles]
111• May 19: Malvarosa (G Fernandez).
111• August 26: Sarjan Hassan (LV Avellana).
111• October 17: Talipandas (C Conde).

1959 [4 titles]
111• December 12: Terror Is a Man (G de Leon).
111• December 16: Biyaya ng Lupa (M Silos).
111• Month ٭٭: Samseng (RA Estella); Saudagar Minyak Urat (RA Estella). AFA records maintain only year of release.

1961 [2 titles]
111• March 1: Amado Pagsanjan’s Asiong Salonga (P Santiago).
111• January 2: The Moises Padilla Story (G de Leon).

1962 [2 titles]
111• March 30: El Filibusterismo (G de Leon).
111• April 11: Samar (G Montgomery).

1963 [1 title]
111• October 9: Cry of Battle (I Lerner).

1964 [1 title]
111• July 7: Geron Busabos: Ang Batang Quiapo (C Gallardo).

1965 [3 titles]
111• April 25: Ang Daigdig Ko’y Ikaw (E Reyes).
111• August 25: Nick Joaquin’s A Portrait of the Artist as Filipino (LV Avellana). From Florina “Lala” Castillo’s firsthand account “What Portrait of the Artist Is All About,” Inquirer.net, October 21, 2012.
111• Month ٭٭: Pusaka Pontianak (RA Estella). AFA records maintain only year of release.

1966 [1 title]
111• April 20: The Passionate Strangers (E Romero).

1967 [1 title]
111• December 31: Masquerade (DL Zialcita).

1968 [1 title]
111• April ٭٭: Badlis sa Kinabuhi (L Salvador). Theatrical exhibitions were in 1969, but the film was shown to specialized audiences in Cebu City early in 1968; no definite date can be confirmed beyond month of April.

1970 [2 titles]
111• July 1: The Evil Within (LV Avellana).
111• December 25: Tubog sa Ginto (L Brocka).

1971 [4 titles]
111• June 10: Pagdating sa Dulo (I Bernal).
111• September 3: Asedillo (CA Castillo).
111• October 8: Stardoom (L Brocka).
111• October 20: Women in Cages (G de Leon).

SECOND GOLDEN AGE (1974–1986)

1974 [4 titles]
111• May 30: Tinimbang Ka Ngunit Kulang (L Brocka).
111• June 23: Krimen (Kayo ang Humatol) (J Raquiza).
111• July ٭٭: Savage Sisters (E Romero). First recorded screening was August 28, 1974, in New York City, although film was released in Pinas a month earlier.
111• November 29: La Paloma (J Gosiengfiao).

1975 [2 titles]
111• July 16: Maynila: Sa mga Kuko ng Liwanag (L Brocka).
111• October 17: Lumapit … Lumayo ang Umaga (I Bernal).

1976 [7 titles]
111• February 14: Ligaw na Bulaklak (I Bernal).
111• March 26: Daluyong at Habagat (CA Castillo).
111• August 6: Nunal sa Tubig (I Bernal).
111• November 19: Tatlong Taóng Walang Diyos (M O’Hara).
111• December 25: Ganito Kami Noon … Paano Kayo Ngayon? (E Romero); Insiang (L Brocka).
111• December ٭٭: Itim (M De Leon). Screened in Davao City, ostensibly to qualify for 1976 awards competition; info on exact dates unavailable.

1977 [4 titles]
111• April 30: Nonoy Marcelo’s Tisoy! (I Bernal).
111• June ٭٭: Mababangong Bangungot (K Tahimik). No Berlinale schedule of screenings available.
111• December 24: Banta ng Kahapon (E Romero); Burlesk Queen (CA Castillo).

1978 [2 titles]
111• November 10: They Call Her … Cleopatra Wong (BA Suarez).
111• December 8: Ikaw Ay Akin (I Bernal).

1979 [3 titles]
111• August 31: Jaguar (L Brocka).
111• September 21: Salawahan (I Bernal).
111• November 23: Aliw (I Bernal).

1980 [8 titles]
111• June 19: Kasal? (L Guillen).
111• August 8: Kakabakaba Ka Ba? (M De Leon).
111• August 14: Celso Ad. Castillo’s Totoy Boogie (CA Castillo).
111• October 17: Underage (J Gosiengfiao).
111• November 12: Bona (L Brocka).
111• November 28: Manila by Night (I Bernal). Released in severely censored form as City After Dark; integral version, including original title, was premiered at the Manila Film Center on January 16, 1985.
111• December 8: Brutal (M Diaz-Abaya). Although an entry at the then-forthcoming Metro Manila Film Festival, film was premiered beforehand.
111• December 25: Ang Panday (F Poe Jr.).

1981 [8 titles]
111• January 29: Playgirl (M Chionglo).
111• February 20: Uhaw na Dagat (CA Castillo).
111• June 25: Pepeng Shotgun (R Suzara).
111• July 17: Pabling (I Bernal).
111• August 7: Salome (L Guillen).
111• August 28: Ang Maestro (F Poe Jr.).
111• December 25: Kisapmata (M De Leon); Pagbabalik ng Panday (F Poe Jr.).

1982 [12 titles]
111• January 27: Oro, Plata, Mata (P Gallaga).
111• January 29: Schoolgirls (MJ de los Reyes).
111• May 17: Batch ’81 (M De Leon).
111• June 4: Pepeng Kaliwete (P Santiago).
111• July 2: Relasyon (I Bernal).
111• July 23: Annie Sabungera (P Santiago).
111• August 13: Diosa (MJ de los Reyes).
111• September 2: T-Bird at Ako (DL Zialcita).
111• September 18: Cain at Abel (L Brocka).
111• December 25: Ang Panday: Ikatlong Yugto (F Poe Jr.); Himala (I Bernal); Moral (M Diaz-Abaya).

1983 [5 titles]
111• February 20: Palabra de Honor (DL Zialcita).
111• July 26: Gabi Kung Sumikat ang Araw (G Portes).
111• September 2: Broken Marriage (I Bernal).
111• September 22: Init sa Magdamag (L Guillen).
111• December 25: Karnal (M Diaz-Abaya).

1984 [16 titles]
111• January 19: Kung Mahawi Man ang Ulap (L Guillen).
111• February 2: Bagets (MJ de los Reyes).
111• March 7: Sinner or Saint (M Chionglo).
111• May 17: Bayan Ko: Kapit sa Patalim (L Brocka). Cannes Film Festival premiere; Philippine exhibition became possible starting November 6, 1985, after Supreme Court overruled censors ban.
111• June 7: Working Girls (I Bernal).
111• June 28: Kaya Kong Abutin ang Langit (MJ de los Reyes).
111• July 11: Bukas Luluhod ang mga Tala (EH Borlaza); Sister Stella L. (M De Leon).
111• September 24: ’Merika (G Portes).
111• October 12: Anak ni Waray vs. Anak ni Biday (MJ de los Reyes).
111• October 19: Condemned (M O’Hara).
111• December 25: Alapaap (T Esteban); Ang Panday IV (F Poe Jr.); Bukas … May Pangarap (G Portes); Bulaklak sa City Jail (M O’Hara).
111• Month ٭٭: Private Show (CS Roño). Screened beforehand in Samar; exact date can no longer be determined.

1985 [9 titles]
111• January 22: Virgin Forest (P Gallaga).
111• February 14: Bituing Walang Ningning (EH Borlaza).
111• June 6: Hinugot sa Langit (I Bernal).
111• June 14: Miguelito: Batang Rebelde (L Brocka).
111• June 18: Scorpio Nights (P Gallaga).
111• June 27: Beloved (L Salvador); Boatman (T Aguiluz).
111• October ٭٭: Silip (E Perez). Screening date unavailable at Chicago International Film Festival brochure, although Private Show (dir CS Roño, 1985) definitely shows up.
111• December 25: Paradise Inn (CA Castillo).

1986 [5 titles]
111• January 11: Bagong Hari (M O’Hara).
111• February 21: Sensual (M Diaz-Abaya).
111• April 26: Takaw Tukso (W Pascual).
111• September 18: Nasaan Ka Nang Kailangan Kita (M Chionglo).
111• September 23: Bilanggo sa Dilim (M De Leon). Schedule confirmed from the Independent Film & Video Festival catalogue.

END OF SECOND GOLDEN AGE
TO END OF THE PAST MILLENNIUM (1987–1999)

1987 [5 titles]
111• May 29: Stolen Moments (EH Borlaza).
111• June 4: Hubad na Pangarap (AQ dela Cruz).
111• September 2: Saan Nagtatago ang Pag-ibig? (E Garcia).
111• September 23: Paano Kung Wala Ka Na (M Chionglo).
111• December 25: The Untold Story of Melanie Marquez (A Marquez).

1988 [6 titles]
111• January 28: Tubusin Mo ng Dugo (P Marcos).
111• September 14: Tiyanak (P Gallaga & L Reyes).
111• September 29: Sa Puso Ko Hahalik ang Mundo (A Marquez).
111• October 27: Red Roses for a Call Girl (BA Suarez).
111• November 16: Babaing Hampaslupa (M Chionglo).
111• December 25: Itanong Mo sa Buwan (CS Roño).

1989 [4 titles]
111• May 12: Orapronobis (L Brocka). Cannes Film Festival screening; successive presidential regimes upheld the ban imposed by the Corazon Aquino government until the film could be premiered November 29, 2008.
111• August 17: Bilangin ang Bituin sa Langit (E Perez).
111• September 13: Babangon Ako’t Dudurugin Kita (L Brocka).
111• December 25: Greatest Performance [unfinished] (N Aunor). Projected Metro Manila Film Festival premiere date only; film was rejected from participating.

1990 [4 titles]
111• February 17: Ikasa Mo … Ipuputok Ko (A Salvador).
111• May 17: Gumapang Ka sa Lusak (L Brocka).
111• August 23: Hahamakin Lahat (L Brocka).
111• October 18: Bakit Kay Tagal ng Sandali? (CS Roño).

1991 [3 titles]
111• June 15: Hihintayin Kita sa Langit (C Siguion-Reyna).
111• December 4: Dinampot Ka Lang sa Putik (MJ de los Reyes).
111• December 25: Ang Totoong Buhay ni Pacita M. (E Perez).

1992 [8 titles]
111• April 30: Totoy Guwapo: Alyas Kanto Boy (T Natividad).
111• May 21: Aswang (P Gallaga & L Reyes).
111• June 4: Ikaw Pa Lang ang Minahal (C Siguion-Reyna).
111• June ٭٭: Developing Stories: Lucia (M Chionglo). No specific Earth Events broadcast date can be found.
111• July 17: Totoy Buang: Mad Killer ng Maynila (JE Navoa).
111• July 28: Alyas Stella Magtanggol (CS Roño).
111• August 21: Sumayaw Ka Salome (L Guillen).
111• December 10: Amang Capulong: Anak ng Tondo, Part II (T Natividad).

1993 [5 titles]
111• February 8: Beloy Montemayor Jr.: Tirador ng Cebu (JP Cabreira).
111• June 24: Dahil Mahal Kita: The Dolzura Cortez Story (L Guillen).
111• July 15: Tatak ng Kriminal (E Vinarao).
111• July 29: Masahol Pa sa Hayop (A Salvador).
111• December 25: May Minamahal (JJ Reyes).

1994 [2 titles]
111• September 9: Sibak: Midnight Dancers (M Chionglo).
111• November 23: Ka Hector (T Natividad).

1995 [3 titles]
111• March 1: Kahit Butas ng Karayom … Papasukin Ko (F Poe Jr. & W Milan).
111• October 25: Gayuma: Sana’y Mahalin Mo Rin Ako (T Esteban).
111• December 15: Mabangis na Lungsod (A Chui C-S & Yuen B).

1996 [2 titles]
111• January 25: May Nagmamahal sa Iyo (M Diaz-Abaya).
111• March 13: Segurista (T Aguiluz).

1997 [4 titles]
111• April 9: Milagros (M Diaz-Abaya).
111• June 24: Amanos: Patas ang Laban (F Posadas).
111• July 16: Eseng ng Tondo (F Poe Jr. & A Salvador).
111• September 7: Ang Lalake sa Buhay ni Selya (C Siguion-Reyna).

1998 [6 titles]
111• March 4: Kahit Pader Gigibain Ko (J del Rosario).
111• April 22: Wangbu (T Natividad).
111• May 27: Curacha: Ang Babaeng Walang Pahinga (CS Roño).
111• September 9: Bata Bata Paano Ka Ginawa (CS Roño).
111• September 12: Tatlo … Magkasalo (C Siguion-Reyna).
111• September 28: Notoryus (T Natividad).

1999 [7 titles]
111• February 16: Bayaning 3rd World (M De Leon).
111• March 10: Burlesk King (M Chionglo).
111• May 12: ’Di Puwedeng Hindi Puwede! (F Posadas).
111• June 2: Pila-Balde (J Jeturian).
111• June 23: Tigasin (I Jarlego Jr.).
111• December 15: Sindak! (M O’Hara).
111• December ٭٭: Still Lives (J Red). First screening date can no longer be determined.

FIRST DECADE OF THE MILLENNIUM (2000–2009)

2000 [6 titles]
111• January 26: Ang Dalubhasa (F Poe Jr.).
111• February 23: Minsan, Minahal Kita (OM Lamasan).
111• March 15: Tunay na Tunay: Gets Mo? Gets Ko! (J Bernal).
111• September 9: Pangarap ng Puso (M O’Hara).
111• October 25: Biyaheng Langit (T Aguiluz).
111• October 30: The Guys from Paradise (Miike T).

2001 [6 titles]
111• January 24: Booba (J Bernal).
111• February 21: Tuhog (J Jeturian).
111• May 9: Minsan May Isang Puso (JJ Reyes).
111• August 8: Radyo (Y Laranas).
111• September 26: La Vida Rosa (CS Roño).
111• December 25: Hubog (J Lamangan).

2002 [2 titles]
111• February 6: Hesus, Rebolusyunaryo (L Diaz).
111• November 6: Kailangan Kita (RB Quintos).

2003 [5 titles]
111• January 29: Magnifico (MJ de los Reyes).
111• May 28: Ang Tanging Ina (WV Deramas).
111• September 24: Kung Ako Na Lang Sana (JJ Reyes).
111• December 3: Babae sa Breakwater (M O’Hara).
111• December 25: Crying Ladies (M Meily).

2004 [5 titles]
111• January 1: Bridal Shower (J Jeturian).
111• February 11: Milan (OM Lamasan).
111• April 14: Masikip sa Dibdib: The Boobita Rose Story (J Bernal).
111• November 24: Minsan Pa (J Jeturian).
111• December 25: Sigaw (Y Laranas).

2005 [5 titles]
111• January ٭٭: Ang Pamilyang Kumakain ng Lupa (Khavn). International Film Festival Rotterdam schedule unavailable for confirmation.
111• July 13: Ang Pagdadalaga ni Maximo Oliveros (A Solito); Pinoy/Blonde (P Gallaga); Sarong Banggi (E Dela Cruz).
111• September 11: Sa Ilalim ng Cogon (RM Ilarde).

2006 [4 titles]
111• April 9: Huling Balyan ng Buhi o ang Sinalirap nga Asoy Nila (SA Sanchez).
111• September 8: Kubrador (J Jeturian).
111• September 9: Twilight Dancers (M Chionglo).
111• December 25: Ligalig (C Montano).

2007 [5 titles]
111• May 25: Foster Child (B Mendoza).
111• September 7: Tirador (B Mendoza).
111• November 14: One More Chance (C Garcia-Sampana).
111• November 30: Altar (RM Ilarde); Tambolista (A Alix Jr.).

2008 [9 titles]
111• February 13: Ang Lihim ni Antonio (J Altarejos).
111• May 18: Serbis (B Mendoza).
111• May 28: Caregiver (CS Roño).
111• July 11: Boses (E Ongkeko-Marfil); Brutus, ang Paglalakbay (T Illenberger); Jay (FX Pasion).
111• July 19: Imoral (A Alix Jr.).
111• November 12: Walang Kawala (J Lamangan).
111• December 3: Yanggaw (R Somes).

2009 [8 titles]
111• May 6: Ded Na si Lolo (S Topacio).
111• May 18: Independencia (R Martin).
111• July 17: Ang Nerseri (V Acedillo Jr.).
111• July 21: Bayaw (M Parungao).
111• September 2: Kimmy Dora: Kambal sa Kiyeme (J Bernal).
111• September 11: Lola (B Mendoza).
111• October 19: Biyaheng Lupa (A Lao).
111• November 13: Wanted: Border (R Gibraltar).

SECOND DECADE OF THE MILLENNIUM:
FIRST HALF (2010–2014)

2010 [5 titles]
111• April 3: Babe, I Love You (M Cruz-Alviar).
111• May 12: Here Comes the Bride (C Martinez).
111• July 14: Amigo (J Sayles); Halaw (SR Dayoc).
111• November 13: Ang Damgo ni Eleuteria (RS Zuasola).

2011 [8 titles]
111• July 16: Amok (L Fajardo); Ang Babae sa Septic Tank (MN Rivera); Isda (A Alix Jr.).
111• July 23: Zombadings 1: Patayin sa Shokot si Remington (J Castro).
111• August 21: The Escort (M Parungao).
111• September 28: No Other Woman (RS Bayani).
111• November 9: Di Ingon ’Nato (B Relucio & I Zaldarriaga).
111• November 11: Six Degrees of Separation from Lilia Cuntapay (A Jadaone).

2012 [12 titles]
111• January 29: Florentina Hubaldo, CTE (L Diaz).
111• February 11: Pusong Wazak: Isa Na Namang Kwento ng Pag-ibig sa Pagitan ng Kriminal at Puta (Khavn).
111• April 7: Moron 5 and the Crying Lady (WV Deramas).
111• June 6: Ang Nawawala (M Jamora).
111• July 21: Boy Pick-Up: The Movie (D Zapata); Posas (L Fajardo).
111• November 12: Jungle Love (SA Sanchez).
111• November 29: Ang Paglalakbay ng mga Bituin sa Gabing Madilim (A Mardoquio); Mariposa: Sa Hawla ng Gabi (R Somes).
111• November 30: Aberya (C Linaban).
111• December 1: Pascalina (P Miras).
111• December 25: The Strangers (L Fajardo).

2013 [16 titles]
111• April 6: Norte, Hangganan ng Kasaysayan (L Diaz).
111• May 24: On the Job (E Matti).
111• July 27: Ekstra (J Jeturian); Porno (A Alix Jr.).
111• July 27: Transit (H Espia). Filmmakers report that IMDb listing of 2013 Israel release is erroneous.
111• August 3: Ang Pirata (J Red); Burgos (J Lamangan).
111• August 16: How to Disappear Completely (R Martin).
111• September 5: Lauriana (M Chionglo).
111• September 11: Otso (E Perez); Sonata (P Gallaga & L Reyes); Tinik (R Suzara).
111• September 18: Ang Huling Cha-Cha ni Anita (Anita’s Last Cha-Cha) (SA Bernardo).
111• November 11: Ang mga Tigmo sa Akong Pagpauli (Riddles of My Homecoming) (A Mardoquio).
111• November 13: Iskalawags (K Deligero).
111• December 25: Boy Golden: Shoot to Kill (CS Roño).

2014 [6 titles]
111• January 15: Bride for Rent (M Cruz-Alviar).
111• February 8: Unfriend (J Altarejos).
111• August 2: Dagitab (G Abrahan).
111• September 24: Dementia (PM Intalan).
111• November 10: Lorna (SA Bernardo); That Thing Called Tadhana (A Jadaone).

SECOND DECADE OF THE MILLENNIUM:
SECOND HALF TO CUTOFF YEAR (2015–2020)

2015 [10 titles]
111• January 26: Desaparadiso: Corrido at Buhay na Pinagdaanan nang Tatlong Principeng Magcacapatid na Anac nang Haring Fernando at nang Reina Valeriana sa Cahariang Berbania (Khavn).
111• March 18: Bambanti (ZM Dulay); Imbisibol (L Fajardo).
111• April 24: Water Lemon (L Lorca).
111• June 29: Da Dog Show (R Jover).
111• September 1: Tandem (K Palisoc).
111• September 9: Heneral Luna (J Tarog).
111• November 9: Hamog (R Jover).
111• December 25: #WalangForever (D Villegas); Nilalang (P Lopez).

2016 [16 titles]
111• February 1: Vampariah (2016, M Abaya).
111• May 18: Ma’ Rosa (B Mendoza).
111• June 22: Ang Napakaigsing Buhay ng Alipato (Khavn).
111• July 2: Iadya Mo Kami (M Chionglo).
111• July 13: Pauwi Na (P Villaluna).
111• July 26: How to Be Yours (D Villegas).
111• August 6: Rene Villanueva’s Hiblang Abo (R Jover).
111• September 19: Indigo Child (E Ongkeko-Marfil). Filmmaker identified special screening at University of the Philippines Film Center.
111• September 24: Superpsychocebu (C Linaban). Filmmaker confirmed screening schedule as closing film of Binisaya Film Festival.
111• September 25: Area (L Ignacio).
111• October 14: Baboy Halas: Wailings in the Forest (B Fiola).
111• October 15: Ang Manananggal sa Unit 23B (P Cruz).
111• October 27: Die Beautiful (JR Lana).
111• October 28: Birdshot (M Red).
111• November 15: Lily (K Deligero).
111• December 25: Vince & Kath & James (T Boborol).

2017 [11 titles]
111• February 15: I’m Drunk, I Love You. (J Habac).
111• March 9: Tu Pug Imatuy (A Barbarona).
111• July 12: High Tide (T Illenberger).
111• August 5: Respeto (T Monteras II).
111• August 9: Double Barrel (Sige! Iputok Mo.) (T Natividad).
111• September 9: Madilim ang Gabi (A Alix Jr.).
111• October 13: Riding in Tandem (T Natividad).
111• October 17: Bomba (R Jover).
111• October 20: Balangiga: Howling Wilderness (Khavn); Medusae (P Miras); Neomanila (M Red).

2018 [7 titles]
111• February 7: Meet Me in St. Gallen (I Villamor).
111• March 9: Abomination (Y Laranas).
111• August 15: Signal Rock (CS Roño); The Day After Valentine’s (JP Laxamana).
111• September 12: Sol Searching (R Perez Jr.).
111• October 12: A Short History of a Few Bad Things (K Deligero).
111• October 22: Hintayan ng Langit (D Villegas).

2019 [9 titles]
111• January 24: Jino to Mari (J Altarejos).
111• March 13: Ulan (I Villamor).
111• September 13: Lola Igna (EW Roy Jr.); LSS (J Castro).
111• October 9: Nuuk (V Velasco).
111• October 13: UnTrue (SA Bernardo).
111• November 8: Metamorphosis (J Tiglao); Sila-Sila (G Abrahan).
111• November 9: Latay (Battered Husband) (R Jover). Date determined from the Kalkota International Film Festival brochure.

2020 [6 titles]
111• January 22: Nightshift (Y Laranas).
111• February 5: On Vodka, Beers, and Regrets (I Villamor).
111• September 29: The Golden Holiday (Kim B-h).
111• October 31: Fan Girl (A Jadaone).
111• December 2: Midnight in a Perfect World (D Dayao).
111• December 25: The Boy Foretold by the Stars (D Dulu).

Á!

Leave a comment | tags: canon | posted in Book

July 23, 2026

Canon Decampment: Alphabetically Arranged List of Titles

By Joel David

Desktop mode is strongly recommended.
This link will open the PDF version.
The book’s landing page has been retitled
“Chronological Listing according to Auteur.”

As in the book version, articles in any language are included as part of the title to minimize confusion. Each entry is linked to the director’s canon page; this means if other titles are included in her or his list, they will appear in chronological order. Some titles’ capsule reviews might also be combined with related titles in the list. Scrolling, searching, or selecting the film title from an initial listing will be the most useful way to reach your target film, but reading through a director’s other recommended works might also prove to be rewarding.

Click on any of the following to navigate more quickly through this list: B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; R; S; T; U; V; W; Y; Z.

٠ Aberya (C Linaban, 2012).
٠ Abomination (Y Laranas, 2018).
٠ A Fanciful Tale of Moro Sea Gypsies—see Zamboanga: A Fanciful Tale of Moro Sea Gypsies (E de Castro, 1937).
٠ Alapaap (T Esteban, 1984).
٠ Aliw (I Bernal, 1979).
٠ Altar (RM Ilarde, 2007).
٠ Alyas Stella Magtanggol (CS Roño, 1992).
٠ Amado Pagsanjan’s Asiong Salonga (P Santiago, 1961).
٠ Amang Capulong: Anak ng Tondo, Part II (T Natividad, 1992).
٠ Amanos: Patas ang Laban (F Posadas, 1997).
٠ Amigo (J Sayles, 2010).
٠ Amok (L Fajardo, 2011).
٠ Anak Dalita (LV Avellana, 1956).
٠ Anak ni Waray vs. Anak ni Biday (MJ de los Reyes, 1984).
٠ Ang Babae sa Septic Tank (MN Rivera, 2011).
٠ Ang Daigdig Ko’y Ikaw (E Reyes, 1965).
٠ Ang Dalubhasa (F Poe Jr., 2000).
٠ Ang Damgo ni Eleuteria (RS Zuasola, 2010).
٠ Ang Huling Cha-Cha ni Anita (Anita’s Last Cha-Cha) (SA Bernardo, 2013).
٠ Ang Lalake sa Buhay ni Selya (C Siguion-Reyna, 1997).
٠ Ang Lihim ni Antonio (J Altarejos, 2008).
٠ Ang Maestro (F Poe Jr., 1981).
٠ Ang mga Tigmo sa Akong Pagpauli (Riddles of My Homecoming) (A Mardoquio, 2013).
٠ Ang Manananggal sa Unit 23B (P Cruz, 2016).
٠ Ang Napakaigsing Buhay ng Alipato (Khavn, 2016).
٠ Ang Nawawala (M Jamora, 2012).
٠ Ang Nerseri (V Acedillo Jr., 2009).
٠ Ang Pagdadalaga ni Maximo Oliveros (A Solito, 2005).
٠ Ang Paglalakbay ng mga Bituin sa Gabing Madilim (A Mardoquio, 2012).
٠ Ang Pamilyang Kumakain ng Lupa (Khavn, 2005).
٠ Ang Panday (F Poe Jr., 1980).
٠ Ang Panday IV (F Poe Jr., 1984).
٠ Ang Panday: Ikatlong Yugto (F Poe Jr., 1982).
٠ Ang Pirata (J Red, 2013).
٠ Ang Tanging Ina (WV Deramas, 2003).
٠ Ang Totoong Buhay ni Pacita M. (E Perez, 1991).
٠ Annie Sabungera (P Santiago, 1982).
٠ A Portrait of the Artist as Filipino—see Nick Joaquin’s A Portrait of the Artist as Filipino (LV Avellana, 1965).
٠ Area (L Ignacio, 2016).
٠ Asedillo (CA Castillo, 1971).
٠ A Short History of a Few Bad Things (K Deligero, 2018).
٠ Asiong Salonga—see Amado Pagsanjan’s Asiong Salonga (P Santiago, 1961).
٠ Aswang (P Gallaga & L Reyes, 1992).

٠ Babae sa Breakwater (M O’Hara, 2003).
٠ Babaing Hampaslupa (M Chionglo, 1988).
٠ Babangon Ako’t Dudurugin Kita (L Brocka, 1989).
٠ Babe, I Love You (M Cruz-Alviar, 2014).
٠ Baboy Halas: Wailings in the Forest (B Fiola, 2016).
٠ Badlis sa Kinabuhi (L Salvador, 1968).
٠ Bagets (MJ de los Reyes, 1984).
٠ Bagong Hari (M O’Hara, 1986).
٠ Bakit Kay Tagal ng Sandali? (CS Roño, 1990).
٠ Balangiga: Howling Wilderness (Khavn, 2017).
٠ Bambanti (ZM Dulay, 2015).
٠ Banta ng Kahapon (E Romero, 1977).
٠ Bata Bata Paano Ka Ginawa (CS Roño, 1998).
٠ Batch ’81 (M De Leon, 1982).
٠ Bayan Ko: Kapit sa Patalim (L Brocka, 1984).
٠ Bayaning 3rd World (M De Leon, 1999).
٠ Bayaw (M Parungao, 2009).
٠ Beloved (L Salvador, 1985).
٠ Beloy Montemayor Jr.: Tirador ng Cebu (JP Cabreira, 1993).
٠ Bilanggo sa Dilim (M De Leon, 1986).
٠ Bilangin ang Bituin sa Langit (E Perez, 1989).
٠ Birdshot (M Red, 2016).
٠ Bituing Walang Ningning (EH Borlaza, 1985).
٠ Biyaheng Langit (T Aguiluz, 2000).
٠ Biyaheng Lupa (A Lao, 2009).
٠ Biyaya ng Lupa (M Silos, 1959).
٠ Boatman (T Aguiluz, 1985).
٠ Bomba (R Jover, 2017).
٠ Bona (L Brocka, 1980).
٠ Booba (J Bernal, 2001).
٠ Boses (E Ongkeko-Marfil, 2008).
٠ Boy Golden: Shoot to Kill (CS Roño, 2013).
٠ Boy Pick-Up: The Movie (D Zapata, 2012).
٠ Bridal Shower (J Jeturian, 2004).
٠ Bride for Rent (M Cruz-Alviar, 2014).
٠ Broken Marriage (I Bernal, 1983).
٠ Brutal (M Diaz-Abaya, 1980).
٠ Brutus, ang Paglalakbay (T Illenberger, 2008).
٠ Bukas … May Pangarap (G Portes, 1984).
٠ Bukas Luluhod ang mga Tala (EH Borlaza, 1984).
٠ Bulaklak sa City Jail (M O’Hara, 1984).
٠ Burgos (J Lamangan, 2013).
٠ Burlesk King (M Chionglo, 1999).
٠ Burlesk Queen (CA Castillo, 1977).

٠ Cain at Abel (L Brocka, 1982).
٠ Caregiver (CS Roño, 2008).
٠ Celso Ad. Castillo’s Totoy Boogie (CA Castillo, 1980).
٠ City After Dark—see Manila by Night (I Bernal, 1980).
٠ Cleopatra Wong—see They Call Her … Cleopatra Wong (BA Suarez, 1978).
٠ Condemned (M O’Hara, 1984).
٠ Cry of Battle (I Lerner, 1963).
٠ Crying Ladies (M Meily, 2003).
٠ Curacha: Ang Babaeng Walang Pahinga (CS Roño, 1998).

٠ Da Dog Show (R Jover, 2015).
٠ Dagitab (G Abrahan, 2014).
٠ Dahil Mahal Kita: The Dolzura Cortez Story (L Guillen, 1993).
٠ Daluyong at Habagat (CA Castillo, 1976).
٠ Dawn of Freedom (G de Leon & Abe Y, 1944).
٠ Ded Na si Lolo (S Topacio, 2009).
٠ Dementia (PM Intalan, 2014).
٠ Desaparadiso: Corrido at Buhay na Pinagdaanan nang Tatlong Principeng Magcacapatid na Anac nang Haring Fernando at nang Reina Valeriana sa Cahariang Berbania (Khavn, 2015).
٠ Developing Stories: Lucia (M Chionglo, 1992).
٠ Di Ingon ’Nato (B Relucio & I Zaldarriaga, 2011).
٠ Die Beautiful (JR Lana, 2016).
٠ Dinampot Ka Lang sa Putik (MJ de los Reyes, 1991).
٠ Diosa (MJ de los Reyes, 1982).
٠ ’Di Puwedeng Hindi Puwede! (F Posadas, 1999).
٠ Double Barrel (Sige! Iputok Mo.) (T Natividad, 2017).
٠ Dyesebel (G de Leon, 1953).

٠ Ekstra (J Jeturian, 2013).
٠ El Filibusterismo (G de Leon, 1962).
٠ Eseng ng Tondo (F Poe Jr. & A Salvador, 1997).

٠ Fan Girl (A Jadaone, 2020).
٠ Florentina Hubaldo, CTE (L Diaz, 2012).
٠ Foster Child (B Mendoza, 2007).

٠ Gabi Kung Sumikat ang Araw (G Portes, 1983).
٠ Ganito Kami Noon … Paano Kayo Ngayon? (E Romero, 1976).
٠ Gayuma: Sana’y Mahalin Mo Rin Ako (T Esteban, 1995).
٠ Geisha of Death—see Nilalang (P Lopez, 2015).
٠ Genghis Khan (M Conde, 1950).
٠ Geron Busabos: Ang Batang Quiapo (C Gallardo, 1964).
٠ Giliw Ko (C Vander Tolosa, 1939).
٠ Greatest Performance [unfinished] (N Aunor, 1989).
٠ Gumapang Ka sa Lusak (L Brocka, 1990).

٠ Hahamakin Lahat (L Brocka, 1990).
٠ Halaw (SR Dayoc, 2010).
٠ Hamog (R Jover, 2015).
٠ Heneral Luna (J Tarog, 2015).
٠ Here Comes the Bride (C Martinez, 2010).
٠ Hesus Rebolusyunaryo (L Diaz, 2002).
٠ Hiblang Abo—see Rene Villanueva’s Hiblang Abo (R Jover, 2016).
٠ High Tide (T Illenberger, 2017).
٠ Higit sa Lahat (G Fernandez, 1955).
٠ Hihintayin Kita sa Langit (C Siguion-Reyna, 1991).
٠ Himala (I Bernal, 1982).
٠ Hintayan ng Langit (D Villegas, 2018).
٠ Hinugot sa Langit (I Bernal, 1985).
٠ How to Be Yours (D Villegas, 2016).
٠ How to Disappear Completely (R Martin, 2013).
٠ Hubad na Pangarap (AQ dela Cruz, 1987).
٠ Hubog (J Lamangan, 2001).
٠ Hukom Roldan (G Fernandez, 1957).
٠ Huling Balyan ng Buhi o ang Sinalirap nga Asoy Nila (SA Sanchez, 2006).

٠ Iadya Mo Kami (M Chionglo, 2016).
٠ Ikasa Mo … Ipuputok Ko (A Salvador, 1990).
٠ Ikaw Ay Akin (I Bernal, 1978).
٠ Ikaw Pa Lang ang Minahal (C Siguion-Reyna, 1992).
٠ Imbisibol (L Fajardo, 2015).
٠ I’m Drunk, I Love You. (J Habac, 2017).
٠ Imoral (A Alix Jr., 2008).
٠ Independencia (R Martin, 2009).
٠ Indigo Child (E Ongkeko-Marfil, 2016).
٠ Init sa Magdamag (L Guillen, 1983).
٠ Insiang (L Brocka, 1976).
٠ Isda (A Alix Jr., 2011).
٠ Iskalawags (K Deligero, 2013).
٠ Itanong Mo sa Buwan (CS Roño, 1988).
٠ Itim (M De Leon, 1976).

٠ Jack en Jill (MS Torres, 1954).
٠ Jaguar (L Brocka, 1979).
٠ Jay (FX Pasion, 2008).
٠ Jino to Mari (J Altarejos, 2019).
٠ Jungle Love (SA Sanchez, 2012).

٠ Ka Hector (T Natividad, 1994).
٠ Kahit Butas ng Karayom … Papasukin Ko (F Poe Jr. & W Milan, 1995).
٠ Kahit Pader Gigibain Ko (J del Rosario, 1998).
٠ Kailangan Kita (RB Quintos, 2002).
٠ Kakabakaba Ka Ba? (M De Leon, 1980).
٠ Karnal (M Diaz-Abaya, 1983).
٠ Kasal? (L Guillen, 1980).
٠ Kaya Kong Abutin ang Langit (MJ de los Reyes, 1984).
٠ Kembali Saorang (RA Estella, 1957).
٠ Kimmy Dora: Kambal sa Kiyeme (J Bernal, 2009).
٠ Kisapmata (M De Leon, 1981).
٠ Kontrabando (G Fernandez, 1950).
٠ Krimen: Kayo ang Humatol! (J Raquiza, 1974).
٠ Kubrador (J Jeturian, 2006).
٠ Kung Ako Na Lang Sana (JJ Reyes, 2003).
٠ Kung Mahawi Man ang Ulap (L Guillen, 1984).

٠ La Paloma (J Gosiengfiao, 1974).
٠ La Vida Rosa (CS Roño, 2001).
٠ Latay (Battered Husband) (R Jover, 2019).
٠ Lauriana (M Chionglo, 2013).
٠ Ligalig (C Montano, 2006).
٠ Ligaw na Bulaklak (I Bernal, 1976).
٠ Lily (K Deligero, 2016).
٠ Lola (B Mendoza, 2009).
٠ Lola Igna (EW Roy Jr., 2019).
٠ Lorna (SA Bernardo, 2014).
٠ LSS (J Castro, 2019).
٠ Lucia—see Developing Stories: Lucia (M Chionglo, 1992).
٠ Luksang Tagumpay [incomplete] (G Fernandez, 1956).
٠ Lumapit … Lumayo ang Umaga (I Bernal, 1975).
٠ Lupang Pangako [incomplete] (SC de Guzman, 1949).

٠ Ma’ Rosa (B Mendoza, 2016).
٠ Mababangong Bangungot (K Tahimik, 1977).
٠ Mabangis na Lungsod (A Chui C-S & Yuen B, 1995).
٠ Madilim ang Gabi (A Alix Jr., 2017).
٠ Magnifico (MJ de los Reyes, 2003).
٠ Malvarosa (G Fernandez, 1958).
٠ Manila by Night (I Bernal, 1980).
٠ Mariposa: Sa Hawla ng Gabi (R Somes, 2012).
٠ Masahol Pa sa Hayop (A Salvador, 1993).
٠ Masikip sa Dibdib: The Boobita Rose Story (J Bernal, 2004).
٠ Masquerade (DL Zialcita, 1967).
٠ May Minamahal (JJ Reyes, 1993).
٠ May Nagmamahal sa Iyo (M Diaz-Abaya, 1996).
٠ Maynila: Sa mga Kuko ng Liwanag (L Brocka, 1975).
٠ Medusae (P Miras, 2017).
٠ Meet Me in St. Gallen (I Villamor, 2018).
٠ ’Merika (G Portes, 1984).
٠ Metamorphosis (J Tiglao, 2019).
٠ Mga Ligaw na Bulaklak (T Cayado, 1957).
٠ Midnight Dancers—see Sibak: Midnight Dancers (M Chionglo, 1994).
٠ Midnight in a Perfect World (D Dayao, 2020).
٠ Miguelito: Batang Rebelde (L Brocka, 1985).
٠ Milagros (M Diaz-Abaya, 1997).
٠ Milan (OM Lamasan, 2004).
٠ Minsan May Isang Puso (JJ Reyes, 2001).
٠ Minsan Pa (J Jeturian, 2004).
٠ Minsan, Minahal Kita (OM Lamasan, 2000).
٠ Moral (M Diaz-Abaya, 1982).
٠ Moron 5 and the Crying Lady (WV Deramas, 2012).

٠ Nasaan Ka Nang Kailangan Kita (M Chionglo, 1986).
٠ Neomanila (M Red, 2017).
٠ Nick Joaquin’s A Portrait of the Artist as Filipino (LV Avellana, 1965).
٠ Nightshift (Y Laranas, 2020).
٠ Nilalang (P Lopez, 2015).
٠ No Other Woman (RS Bayani, 2011).
٠ Nonoy Marcelo’s Tisoy! (I Bernal, 1977).
٠ Norte, Hangganan ng Kasaysayan (L Diaz, 2013).
٠ Notoryus (T Natividad, 1998).
٠ Nunal sa Tubig (I Bernal, 1976).
٠ Nuuk (V Velasco, 2019).

٠ On the Job (E Matti, 2013).
٠ On Vodka, Beers, and Regrets (I Villamor, 2020).
٠ One More Chance (C Garcia-Sampana, 2007).
٠ Orapronobis (L Brocka, 1989).
٠ Oro, Plata, Mata (P Gallaga, 1982).
٠ OTJ—see On the Job (E Matti, 2013).
٠ Otso (E Perez, 2013).

٠ Paano Kung Wala Ka Na (M Chionglo, 1987).
٠ Pabling (I Bernal, 1981).
٠ Pagbabalik ng Panday (F Poe Jr., 1981).
٠ Pagdating sa Dulo (I Bernal, 1971).
٠ Palabra de Honor (DL Zialcita, 1983).
٠ Pangarap ng Puso (M O’Hara, 2000).
٠ Paradise Inn (CA Castillo, 1985).
٠ Pascalina (P Miras, 2012).
٠ Pauwi Na (P Villaluna, 2016).
٠ Pedro Penduko (G de Leon, 1954).
٠ Pepeng Kaliwete (P Santiago, 1982).
٠ Pepeng Shotgun (R Suzara, 1981).
٠ Pila-Balde (J Jeturian, 1999).
٠ Pinoy/Blonde (P Gallaga, 2005).
٠ Playgirl (M Chionglo, 1981).
٠ Porno (A Alix Jr., 2013).
٠ Posas (L Fajardo, 2012).
٠ Prinsipe Teñoso (G Fernandez, 1954).
٠ Private Show (CS Roño, 1984).
٠ Pusaka Pontianak (RA Estella, 1965).
٠ Pusong Wazak: Isa Na Namang Kwento ng Pag-ibig sa Pagitan ng Kriminal at Puta (Khavn, 2014).

٠ Radyo (Y Laranas, 2001).
٠ Red Roses for a Call Girl (BA Suarez, 1988).
٠ Relasyon (I Bernal, 1982).
٠ Rene Villanueva’s Hiblang Abo (R Jover, 2016).
٠ Respeto (T Monteras II, 2017).
٠ Riddles of My Homecoming—see Ang mga Tigmo sa Akong Pagpauli (Riddles of My Homecoming) (A Mardoquio, 2013).
٠ Riding in Tandem (T Natividad, 2017).

٠ Sa Puso Ko Hahalik ang Mundo (A Marquez, 1988).
٠ Saan Nagtatago ang Pag-ibig? (E Garcia, 1987).
٠ Salawahan (I Bernal, 1979).
٠ Sa Ilalim ng Cogon (RM Ilarde, 2005).
٠ Salome (L Guillen, 1981).
٠ Samar (G Montgomery, 1962).
٠ Samseng (RA Estella, 1959).
٠ Sana’y Mahalin Mo Rin Ako—see Gayuma: Sana’y Mahalin Mo Rin Ako (T Esteban, 1995).
٠ Sanda Wong (G de Leon, 1955).
٠ Sarjan Hassan (LV Avellana, 1958).
٠ Sarong Banggi (E Dela Cruz, 2005).
٠ Saudagar Minyak Urat (RA Estella, 1959).
٠ Savage Sisters (E Romero, 1974).
٠ Schoolgirls (MJ de los Reyes, 1982).
٠ Scorpio Nights (P Gallaga, 1985).
٠ Segurista (T Aguiluz, 1996).
٠ Sensual (M Diaz-Abaya, 1986).
٠ Serbis (B Mendoza, 2008).
٠ Sibak: Midnight Dancers (M Chionglo, 1994).
٠ Sigaw (Y Laranas, 2004).
٠ Signal Rock (CS Roño, 2018).
٠ Sila-Sila (G Abrahan, 2019).
٠ Silip (E Perez, 1985).
٠ Sindak! (M O’Hara, 1999).
٠ Sinner or Saint (M Chionglo, 1984).
٠ Sino ang Maysala? (A Garces, 1957).
٠ Sisa (G de Leon, 1951).
٠ Sister Stella L. (M De Leon, 1984).
٠ Six Degrees of Separation from Lilia Cuntapay (A Jadaone, 2011).
٠ Sol Searching (R Perez Jr., 2018).
٠ Sonata (P Gallaga & L Reyes, 2013).
٠ Stardoom (L Brocka, 1971).
٠ Still Lives (J Red, 1999).
٠ Stolen Moments (EH Borlaza, 1987).
٠ Sumayaw Ka Salome (L Guillen, 1992).
٠ Superpsychocebu (C Linaban, 2016).

٠ Takaw Tukso (W Pascual, 1986).
٠ Talipandas (C Conde, 1958).
٠ Tambolista (A Alix Jr., 2007).
٠ Tandem (K Palisoc, 2015).
٠ Tatak ng Kriminal (E Vinarao, 1993).
٠ Tatlo … Magkasalo (C Siguion-Reyna, 1998).
٠ Tatlong Taóng Walang Diyos (M O’Hara, 1976).
٠ Taufan (TC Santos, 1957).
٠ T-Bird at Ako (DL Zialcita, 1982).
٠ Terror Is a Man (G de Leon, 1959).
٠ That Thing Called Tadhana (A Jadaone, 2014).
٠ The Boobita Rose Story—see Masikip sa Dibdib: The Boobita Rose Story (J Bernal, 2004).
٠ The Boy Foretold by the Stars (D Dulu, 2020).
٠ The Day After Valentine’s (JP Laxamana, 2018).
٠ The Dolzura Cortez Story—see Dahil Mahal Kita: The Dolzura Cortez Story (L Guillen, 1993).
٠ The Escort (M Parungao, 2011).
٠ The Evil Within (LV Avellana, 1970).
٠ The Golden Holiday (Kim B-h, 2020).
٠ The Guys from Paradise (Miike T, 2000).
٠ The Moises Padilla Story (G de Leon, 1961).
٠ The Passionate Strangers (E Romero, 1966).
٠ The Strangers (L Fajardo, 2012).
٠ The Untold Story of Melanie Marquez (A Marquez, 1987).
٠ They Call Her … Cleopatra Wong (BA Suarez, 1978).
٠ Tigasin (I Jarlego Jr., 1999).
٠ Tinik (R Suzara, 2013).
٠ Tinimbang Ka Ngunit Kulang (L Brocka, 1974).
٠ Tirador (B Mendoza, 2007).
٠ Tisoy!—see Nonoy Marcelo’s Tisoy! (I Bernal, 1977).
٠ Tiyanak (P Gallaga & L Reyes, 1988).
٠ Totoy Boogie—see Celso Ad. Castillo’s Totoy Boogie (CA Castillo, 1980).
٠ Totoy Buang: Mad Killer ng Maynila (JE Navoa, 1992).
٠ Totoy Guwapo: Alyas Kanto Boy (T Natividad, 1992).
٠ Tough Beauty and the Sloppy Slop—see Mabangis na Lungsod (A Chui C-S & Yuen B, 1995).
٠ Transit (H Espia, 2013).
٠ Tu Pug Imatuy (A Barbarona, 2017).
٠ Tubog sa Ginto (L Brocka, 1970).
٠ Tubusin Mo ng Dugo (P Marcos, 1988).
٠ Tuhog (J Jeturian, 2001).
٠ Tunay na Tunay: Gets Mo? Gets Ko! (J Bernal, 2000).
٠ Twilight Dancers (M Chionglo, 2006).

٠ Uhaw na Dagat (CA Castillo, 1981).
٠ Ulan (I Villamor, 2019).
٠ Underage (J Gosiengfiao, 1980).
٠ Unfriend (J Altarejos, 2014).
٠ UnTrue (SA Bernardo, 2019).

٠ Vampariah (2016, M Abaya).
٠ Vince & Kath & James (T Boborol, 2016).
٠ Virgin Forest (P Gallaga, 1985).

٠ Wailings in the Forest—see Baboy Halas: Wailings in the Forest (B Fiola, 2016).
٠ #WalangForever (D Villegas, 2015).
٠ Walang Kawala (J Lamangan, 2008).
٠ Wangbu (T Natividad, 1998).
٠ Wanted: Border (R Gibraltar, 2009).
٠ Water Lemon (L Lorca, 2015).
٠ Women in Cages (G de Leon, 1971).
٠ Working Girls (I Bernal, 1984).

٠ Yanggaw (R Somes, 2008).

٠ Zamboanga: A Fanciful Tale of Moro Sea Gypsies (E de Castro, 1937).
٠ Zombadings: Patayin sa Shokot si Remington (J Castro, 2011).

Á!

Leave a comment | tags: canon | posted in Book

July 10, 2026

Joel David’s Silver-Screen Captures: A Trilogy of Philippine Film Criticism

By Joel David

Pardon the before-the-title credit, the only one I ever indulged in. Silver-Screen Captures: A Trilogy of Philippine Film Criticism was the title of a proposal that I submitted to Ateneo de Manila University Press in the late 2010s, under the directorship of Maria Karina A. Bolasco. Karina had published my first book, The National Pastime: Contemporary Philippine Cinema, in 1990, when she headed Anvil Publishing. ADMU Press published in 1995 my second book, Fields of Vision: Critical Applications in Recent Philippine Cinema, when it was headed by the late Professor Esther M. Pacheco. My third book, Wages of Cinema: Film in Philippine Perspective, was commissioned by the late Professor Laura Samson, who published it at the University of the Philippines Press in 1998.

11011Karina announced a program of multivolume publications, which would have been intimidating to any author. The twist in my initial publishing ventures was that my very first book draft was ambitious enough to be contained in two bound manuscript volumes. When Karina said she preferred a manuscript that was half the size of my submission, I picked out reviews and articles that could sufficiently function as an overview of the field, and saved the rest as a prospective second book.

11011Inasmuch as I’d promised Prof Esther my second book manuscript, I took some time out to complete what I felt were gaps that resulted from trimming down The National Pastime’s originally fuller version, and added several metacritical articles including what turned out to be the first standard film-canon survey in the country. The step-up from the first book was noted by a few perceptive colleagues, including Prof Laura when I dropped in to update her on my study progress. She then asked me to list the papers I had completed for conferences and prospective journal publications, then contacted me before my return to US graduate school to show me how we could come up with a third volume that was distinct from the first two, in being entirely focused on issues of theory, history, policy, and world cinema.

11011So I was always aware from the start that my premillennial volumes displayed a critical project that progressed from mostly reviews through mostly criticism all the way to mostly discursive material, or (in another colleague’s semi-jokey terms) from classical to modern to postmodern emphases. The millennial transition helped out, in a sense, by providing a break between celluloid and digital technologies, along with several other related shifts in production and distribution. My scholarly output was also disrupted, initially by the demands of completing my doctorate compounded by the politics of refusal – of remaining in the West, and later of remaining in my home country’s national university.

11011When my situation more or less stabilized in the Korean university that hired me, I resumed scholarly production on vastly different terms, with book writing and publication becoming the most difficult to realize. I edited several anthologies of my own and of others’ manuscripts, completed a shortish but well-received monograph for an overseas queer-films series, and completed a personal comprehensive canon project after retirement. Karina’s multivolume publication project for Ateneo would have been an opportunity for me to re-present my premillennial volumes: Silver-Screen Captures was intended to be an omnibus collection of The National Pastime, Fields of Vision, and Wages of Cinema.

11011Obviously I was unable to finalize my manuscript submission. I’d planned to revise and update the originals, in effect creating new digital editions of each, but the exigencies of fulfilling professorial duties were not conducive to book completion because of the primary valuation of high-ranked journal-article writing. In fact after retirement, I resolved to complete Canon Decampment, the aforementioned canon project, in order to uncover or discover the most efficient ways of finalizing book projects. After CD came out in June 2026, here we stand now with the delayed not-so-new trilogy.

11011These then are the links to the components of Silver-Screen Captures, with the vision of a thick singular volume remaining something for a future that may or may never come, which is apparently the reality of this current historical moment. Links to the downloadable PDFs appear right before each book’s cataloging-in-publication data. Since the PDF texts were initially uploaded on Ámauteurish!, links in each book’s table of contents are exactly the same as the PDF contents.

The National Pastime (Amauteurish Publishing, 2014, doi:10.5281/zenodo.21280755), ISBN 971-621-96191-2-7, 152+x pp.;
Fields of Vision (Amauteurish Publishing, 2014, doi:10.5281/zenodo.21293648), ISBN 978-621-96191-4-1, 144+viii pp.; and
Wages of Cinema (Amauteurish Publishing, 2014, doi:10.5281/zenodo.21293617), ISBN 978-621-96191-3-4, 140+viii pp.

[Each digital edition’s book-info elements comprise the shortened title, followed in parentheses by the publisher, year of publication, and digital object ID number, which links to the post; after the parentheses would be the International Standard Book Number and number of pages consisting of body-text total plus preliminary-text total in roman numerals, following standard practice at the Modern Language Association Bibliography.]

Á!

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June 15, 2026

Canon Decampment: Credits & Copyright Info

By Joel David

CREDITS

Project Consultants

• Jerrick Josue David
• Jojo Devera
• Epoy Deyto
• Mauro Feria Tumbocon Jr.

Technical Consultant

• Ha Ju-Yong

Area Specialists

• Andrew Leavold [genre & exploitation]
• Ricky C. Ornopia [politics & research]
• Gio Potes [genders & sexualities]

Project Concept & Format

• Jo-Ann Q. Maglipon

COPYRIGHT INFO

All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publishers, except in the case of brief quotations embodied in reviews and certain other noncommercial uses permitted by copyright law. For permission requests, contact the publishers via either website (amauteurish.com/contact) or email (iq100@inha.ac.kr).

The author acknowledges the support of the Inha University Faculty Writing Grant, Summit Media, and Amauteurish Publishing, toward the completion of this volume.

Although AI software became available several years after the project started, the author refused to avail of assistance from large language models for either research or writing.

Á!

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SUGGESTED FEATURES

TROUBLE in PARADISE!

⇒ Pinas political film criticism in 3 nasty uploads! – Part 1, “The Problem of Our Critical Approaches”; Part 2, “Toward a More Responsive Critical Practice”; and Appendix, “‘Category E’ Samples” (whatever that means).

Psychology Today

SPECIAL GUEST FEATURE:
The Performances of Nora Aunor
(Order of the National Artist, 2022)
& Her Contemporaries

by Jojo Devera
(Facebook posts to May 2023;
click pic to access)

⇒ My only millennial-era review of an Aunor film: Adolfo Borinaga Alix Jr.’s Kontrabida (so far unreleased!)
⇒ Read as well my Nora Aunor obituary (definitely not the last time she’ll be mentioned!)

STILL AVAILABLE!
(Click pic to order)

Read the script @ Kritika Kultura
or the storyline here.
Here’s a review in Jump Cut,
another in Plaridel, and
the latest (translated) in Pelikula.

“Many of [JD’s] writings explore transgressive or subversive cinema, such as his tribute to Manila by Night, a film banned by the Marcos regime for its vivid depiction of the city’s underworld” – “8 Scholars & Critics Expanding Our Understanding of Culture” (Ezvid Wiki editorial, Aug. 25, 2020).

REALLY NOW
• Who can we blame for dislodging Citizen Kane from its #1 perch? (or I wish better trolls could find me)
(Click pic to open)

⇒ More fascinating shit in this Fil(m)ipiniana listing

SPECIAL LISTS
• Film auteurs, play directors, & book authors
• Experimental Cinema of the Philippines (article format)
• CCP Encyclopedia entries
• National Midweek articles

BOOKS exclusively ON THIS BLOG
(Click pic to open)

⇒ Did I say “books”? All right: Writing Pinas Film Commentary

FUN READ
• Barretto family scandal (ca. 2019)
(Click pic to open)

ABS-CBNNews

⇒ More titillations in Remarks section

COMMEMORATION
• Anita Linda (1942-2020) – with never-before-known anecdotes!
(Click pic to open)

GONE TOO SOON (both at 60)….
• Sisters-in-law & gifted performers – Jaclyn Jose (“Bold in Heaven”); Cherie Gil (“Artist in a Hurry”)

From MaCherieAmour page

⇒ More tributes in Remembrances

REVIEW
• “2 Guys,” an originally censored commentary on Avatar!
(Click pic to open)

⇒ More reviews in, where else, Reviews

CATFIGHTS
• “Are you just another Noranian / Marcosian / gossip writer / anti-left basher / smut peddler in intellectual disguise?”

⇒ More scrapes in Selected Exchanges

ANOTHER BOOK exclusively ON THIS BLOG
(Click pic to open)

⇒ More titles in Books

THIS BLOG (& Me)
• How to Use Ámauteurish!
• Reviews & Recommendations
• Joel Who?
• Marcos & the Movies
• Movie Labor

OMG call the CHASTITY POLICE!
• Review of Erotica Manila: Foursome (as if one weren’t enough) – with no complaints about its subject matter, SMHx4
(Click pic nervously to open)

IN a JIFFY (or 2 or –)
• Longest and shortest films reviewed: 6+ hours – Florentina Hubaldo, CTE (2012); vs. 1.5 minutes – “Balot” (2023), Gigil Agency’s viral cola ad (with English subs!)
(Click pic to open)

⇒ More recent reviews in Remarks

THESE BLOGS (for Me)
• Recommended blogs, Facebook pages & groups, video channels, and historical websites

⇒ The complete list has been moved to the blogpost that was originally an introduction to this sidebar feature.

DOVIE BEAMS LOVE CHILD Exists!
• An intro to her raunchy Marcos’ Lovey Dovie performance, with jaw-dropping updates!
(Click pic to open – then pray for forgiveness, you incorrigible you)

⇒ More clickbait in Extras

BET YOU DIDN’T KNOW…
• That Ámauteurish! is pronounced “\ám-\o-′tərish” (says I);
• That it’s a coinage that mashes up auteur & amateur; and
• That if you misspell the blog name, you get something else.

⇒ More useless info in the Abouts section.

Á!