Jocelyn, Rainier, and Bingbong are three film school graduates who are dead set on making an Oscar-worthy film. They set out to do a quick pre-production as a courtesy call to their lead ...
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Eugene prepares for her comeback vehicle after a long sabbatical from movie making. Rainier proposes "The Itinerary," a heartbreaking anatomy of a crumbling marriage as told through a ... See full summary »
Longtime couple Basha (Bea Alonzo) and Popoy (John Lloyd Cruz) are practically inseparable, so when they split up, it's not surprising how heartbroken each feels. But Basha, stifled by the ... See full summary »
Senior engineering student Vince has a crush on go-getter and fellow engineering student Kath. Just as when he's about to confess his feelings for her, his cousin and basketball varsity ... See full summary »
In a typical teen film about love, monsters, and gadgets, Marty, an aspiring comic-book artist, secretly loves his gadget inventor best friend, Sally, and fantasizes of saving her from the big bad world.
In 1947 those aspiring to be priest, are sent to a remote convent to live in seclusion (Seklusyon) on the last day of their training. The purpose is to shield them from evil of the world. ... See full summary »
Neil Ryan Sese,
Jocelyn, Rainier, and Bingbong are three film school graduates who are dead set on making an Oscar-worthy film. They set out to do a quick pre-production as a courtesy call to their lead actress played by Eugene Domingo, and a through inspection of their film's major location, the Payatas dumpsite. They believe they have a winning script, and the energy and drive to make their dreams come true, no matter what the cost. Written by
I recently visited this beautiful country on business and got a break from work. I went to Cinemalaya Philippine Independent Film Festival and watched what i call the funniest film i have seen this year.
The Philippines, sadly, is proud of a cinema that most of its citizens have not seen. It is proud of a cinema that is taken hostage by the international film festivals that dictate upon it its inevitable direction. It is proud of a cinema that is only part of a vicious cycle of international demands and artists too willing to fill in these demands. Of course, that is only one spectrum of the debate. The other spectrum belongs to what's right in Philippine cinema, which is obviously not the focus of Martinez and Rivera and would have made the film a less effective parody.
With its brave and seamless sense of humor, Ang Babae sa Septic Tank is a sure crowd-pleaser. However, let not its comedic machinations be mistakenly considered as the summation of the bigger, more complex and more beautiful thing that is Philippine cinema.
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