Despite the array of searing performances from its cast, Elehiya does nothing to stem the confusion that comes from vaguely dissecting a spiritually-charged island and its colonially-subdued inhabitants.

July Jung’s exposé of such a rat race is interesting, in that it identifies a dimension of South Korean culture not often expressed in detail, much less the unfairly competitive system built on corruption, crab mentality, and ruthlessness of working-class labor. If only Next Sohee could consistently find itself crawling out of such a tepid structure, which makes it feel too repetitive despite the emotionally devastating walls it puts up.

All in all, “The Moises Padilla Story” is one of the most engaging experiences from the 60s. It’s a film whose propagandist and political elements with a mastery of fundamentals, creating something riveting and enchanting only boggled by external imperfections.

Familiar tropes and sentiments cloud Prime Cruz's latest work, but despite its imitations and self-awareness, "Ngayon Kaya" is still capable of hitting its audience in spots and moments.

“Boundary” finds itself toeing the line between right and wrong, expertly weaving between figures whose righteousness is easily questioned thanks to great pacing rarely seen from the genre.

“Ang Kababaihan ng Malolos” is clearly and consciously well-informed of the details, but struggles in imprinting itself well to the audience.

Beyond family and ethnicity, “Tanabata’s Wife” is a delicate attempt to find human nature in the flawed complexities of two vastly different characters.

“The Chanters”, simply put, prods its audience with an ingenious mix of contemporary and traditional cultures in a way that leaves a mark on them even after watching.

Keith Deligero's 2021 murder-mystery short divulges little about the details, but gives its audience something to earnestly pine for in a post-pandemic world.

Remton Zuasola's 2015 drama-thriller implicitly examines crime in the backdrop of Martial Law antics while leaving much to be desired.

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.

‘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.

Adela is both a movie of the neglected elderly and the ignored poor. In trying to coexist, they become accessory to a narrative that diminishes the staying power each side tries to offer.