How do you begin to love someone who doesn’t know how to love themselves? ‘Paano Kita Iibigin’ attempts to answer that and more in this 2007 romcom film starring Regine Velasquez and Piolo Pascual.

'Hey Babe!,' like other romcoms, falls under the dilemma of the genre's tendency to be misogynistic. It hides its true nature in "lessons" that don't only serve its plot, but also the patriarchy.

Himala is undoubtedly breathtaking—an experience unlike no other. It's been nearly 40 years since the film was released, but its themes regarding blind faith and fanaticism are still relevant up to this day.

‘Nagsimula sa Puso’? More like ‘Nagsimula sa Libog.’ Smothered in steam but empty everywhere else, ‘Nagsimula sa Puso’ is an annoying bore.

‘Moral’ is an important piece of the feminist art in the country. It is a daring portrait of four women, each navigating the Filipino working and domestic life through the prism of a patriarchal society.

'Patayin sa Sindak si Barbara’ is a two-way failure: it fails both as a remake and as a horror movie.

The exterior of Cain and Abel’s socio-political commentary on cyclical violence and internal strife is one that flaunts heightened drama and gun-toting action together–sometimes, to a fault.

As the final movie in her renowned feminist trilogy, Marilou Diaz-Abaya’s 'Karnal' offers a wicked spin on the traditional Filipino patriarch and his countryside town.

'Labs Kita' is an essential viewing of Filipino cinema that serves as a blueprint for movies like 'Paano Na Kaya', 'She’s The One', 'Must Be...Love', and 'I’m Drunk, I Love You'.

Beyond the film’s formalist achievement lies an interesting transformation of secrets to anxieties—and anxieties to horror.

Gloriously intense yet thematically confused, 'Minsan Lang Kitang Iibigin' is proof of the unpredictable alchemy of movies.

Dive back to the glory days of Sharon Cuneta and Richard Gomez love team with Ricky Lee's and Olivia M. Lamasan's 2000 classic, 'Minsan, Minahal Kita'.

‘Sa Aking Mga Kamay’ is an unexpectedly straightforward ride through a psychopath and a broken family. By upending familiar elements, it becomes a film that relishes in subversion within its commercial touches.