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Lily (2016)

Lily (2016)
Lily (2016)
Director: Keith Deligero
Writers: Keith Deligero, Timmy Harn
Stars: Shaina Magdayao, Rocky Salumbides, Natileigh Sitoy
Genres: Drama
Country: Philippines
Language: Filipino | Tagalog
Release Date: 15 November 2016 (Philippines)
Production Co: Deligero & Co.,Quiapost Productions

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Storyline
Stories abound in Cebu about a woman rumored to be a murderous monster, but behind the myth is a mother seeking justice.

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Every Room Is a Planet (2016)

Every Room Is a Planet (2016)
Every Room Is a Planet (2016)
Director: Malay Javier
Writer: Malay Javier
Stars: Rap Fernandez, Valeen Montenegro, Antoinette Taus
Genres: Drama
Official Sites: Facebook
Country: Philippines
Language: Filipino | Tagalog
Release Date: 18 November 2016 (Philippines)


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A quirky love affair between a mentally unstable girl who thinks her husband is abducted by aliens and her husband's brother whose romance for her remains a sci-fi impossibility.


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Women of the Weeping River (2016)

Women of the Weeping River (2016)
Women of the Weeping River (2016)
Director: Sheron R. Dayoc
Writer: Sheron R. Dayoc
Stars: Laila Ulao, Mariam Zimadar Caranay-Raper, Taha Daranda
Country: Philippines
Language: Filipino
Release Date: 27 December 2017 (France) See more »
Also Known As: Les femmes de la rivière qui pleure
Filming Locations: Zamboanga City, Mindanao, Philippines
Production Co: TBA Studios,Waterland Film,Hautlesmains

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Women of the Weeping River is a 2016 drama film directed by Sheron Dayoc.[1] Set in Jolo, Sulu, with an ensemble cast of non-actors from the Western Mindanao region.
Two women in a remote Muslim community confront an escalating blood feud and reach deep into themselves in hopes to undo the feud stretching back generations.
The film was shot over two weeks in July 2016, in Zamboanga City, and Jolo. The film was shot in 4K resolution with Sony A7S-II, and Panasonic Varicam LT cameras, with Leica Summicron-C lenses. The production is one of the first films using the Varicam LT. It was later presented in cinemas at 2.35 aspect ratio.


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Hinulid (2016)

Hinulid (2016)
Hinulid (2016)
Director: Kristian Cordero (as Khristian Cordero)
Writer: Kristian Cordero (as Khristian Cordero)
Stars: Nora Aunor, Jess Mendoza, Raffi Banzuela
Genres: Drama
Country: Philippines
Language: Bicolano
Release Date: 14 October 2016 (Philippines)
Also Known As: The Sorrows of Sita

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A woman returns to the village of Kagbunga in the Bikol region carrying the ashes of her only son via the old train that circles her universe like the tandayag, the primordial serpent. In a filial act of mourning, she will reckon and reconcile the thin line that exists between tragedy and transcendence and prove and that even the most broken life can be restored to its moments.



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Best. Partee. Ever. (2016)

Best. Partee. Ever. (2016)
Director: HF Yambao
Writer: Honeylyn Joy Alipio
Stars: JC de Vera, Mercedes Cabral, Jordan Herrera
Genres: Drama
Official Sites: Facebook
Country: Philippines
Language: Filipino | Tagalog
Release Date: 15 October 2016 (Philippines)


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Mikey, a vernal, prudent, gay man from the wealthy aggregation, spends figure life in a port jail spell perception his case for ingest propulsion. Inside situation, Mikey holds play to vary to the civilisation and stratification among inmates. Yet, Mikey becomes a 'Mayor' (toroid leader) to a forgather of gay inmates called "Gang-da". Together, they turn to endure the dangers of individual gang riots, the routine, and the decrease of imperfect comportment


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Baboy halas (2016)

Baboy halas (2016)
Wailing in the Forest (2016)
Baboy halas (original title)
Director: Bagane Fiola
Stars: Omeles Laglagan, Ailyn Laglagan, Vangelyn Panihao
Plot Keywords: philippines | isolated | tale | tropics | ritual
Genres: Drama
Official Sites: Facebook
Country: Philippines
Language: Filipino
Release Date: 14 October 2016 (Philippines)
Also Known As: Wailing in the Forest
Runtime: 105 min


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Storyline
An indigenous family, one of the last forest people of old, copes with the unusual changes in their environment including the imposing lifestyle and customs of the more sociable tribes on the plains.

The Exacting Forest and the Forgivable Man in Bagane Fiola’s Baboy Halas (2016)[i]
Emerald Flaviano
Disclaimer: This overview accommodates spoilers.
Baboy Halas: Wailings in the Forest (2016), Bagane Fiola’s second movie, is the narratively spare imagination of a life in an unsullied earth. Centering on the story of Mampog the boar hunter, the movie makes an attempt to learn the way a life that depends so much on the natural world is possible.
A landscape of the leafy and befogged heights of the mountains of Davao backdrops the film’s title card. To the urban viewers, the forest is fearsome and threatening even in its flattened type. The forest in profile—a landscape—immediately introduces the engulfing Different of Mampog and the rest of the Matigsalug individuals. Inside the seemingly impenetrable thicket, the forest is revealed in its claustrophobic glory. Raphael Meting and Mark Limbaga’s digital camera cuts its own path within the forest, following Mampog’s hunts by means of dense foliage, and the thick undergrowth beneath which disguise treacherously slippery rocks. The skillful handling of the digicam imagines an ordered world and makes us consider that Mampog’s purposeful meandering by a thick, claustrophobic forest may be adopted by a navigable, albeit alien, space.

This ordering mirrors the Matigsalug individuals’s makes an attempt to negotiate with their wild home: historical forest dwellers are appeased and cajoled, a hooting owl is considered a foul omen, and a white pig is a disturbance within the order of issues. For the forest is the one supply of Mampog’s family’s sustenance. Wild pigs are hunted, freshwater fish and toads are trapped in streams, and wild crops are foraged, but in no other approach will the pure world be bent to human wants and needs. All the pieces is appealed to the forest dwellers, animals (the canine Bugtong, the hooting alimokon (wild pigeon)), and inanimate substances (the fire). In probably the most remarked upon scene of Baboy Halas, Mampog lights a small fire to warm a chilly night inside a cave, protecting his finish of a “dialogue” with the Cave Dweller. As the viewers is glued to the hunter’s wrestle for hearth, we're also reminded how negligible human existence is in the riot of life within the forest: “It's a lot to ask, but do maintain us alive,” Mampog pleads to the cold blackness of the cave.

This smallness is somewhat amplified in Baboy Halas’ unidimensional characters: there is nothing much that we learn about how Mampog thinks about their way of life, or how his wives think about the household’s constant battle for meals. Mampog’s younger wife looks off into the space, apparently deep in thought about the nightmare explaining the cause of her husband’s recently disturbed behavior, however these ideas are up for anybody to guess. This denial of revelation might be learn, on the one hand, as signifying an ethical determination to maintain a respectful distance between filmmaker and topics. Alternatively, it additionally asks us to connect with Mampog on a different stage. Clearly, Mampog and his people do not struggle with the forest to live, however they negotiate in a reciprocal relationship. Mampog’s transformation into a boar may be learn, among different things, as settling scores—the hunter pays for his hunt by becoming the hunted. This want for equilibrium is echoed within the formal legal guidelines of the Matigsalug, as revealed by the settling of dispute between two communities. Brass gongs and horses are exchanged over civil discourse, tobacco, and brew.
To an outsider, Baboy Halas appears like a documentary exposition of the everyday life of the Matigsalug. Isolating the Matigsalug from the urban lowlands, the movie conceives of a individuals who live peacefully in an unsullied earth, with no trendy garments and instruments, reliant completely on what the forest provides. Yet this isolation might be something however literally real. Baboy Halas is set in Sitio Maharlika, Barangay Baganihan, Marilog District in Davao Metropolis.[ii]Baganihan is understood for its cold local weather, and is a familiar hang-out for Davaoeños in search of to flee the heat and bustle of the town. This imagined isolation in Baboy Halas gathers special significance, a yr after reviews of harassment and killing of Lumads in Mindanao broke nationwide news in August to October 2015. Mampog and his household dwell undisturbed in forests the place the Matigsalug have been residing for generations, belying the systematic and concerted efforts of the state and mining capital to terrorize communities for their ancestral lands. But Fiola chooses to not foreground this and as an alternative presents the Matigsalug as a group in its own, not necessarily virtually all the time defined by their subjection; in an interview with Davao Immediately he reveals that the movie’s narrative was largely drawn from the stories the Matigsalug instructed him.[iii] Though these stories are largely about privation and need, the Matigsalug are nevertheless lively brokers in their lives—of their negotiation with an detached natural world, in settling neighborhood disputes, in choosing to stay in the mountains and refuse the attract of the plains. The Matigsalug themselves act out their stories, and the uneven performances—some had been indifferent, whereas some were engaged (as with the expansive Du)—assert every nonprofessional actor’s own understanding of his/her participation in a film representing their lifestyle.
Du wooing one other man’s spouse. (Nonetheless picture credit to Origane Movies)
In a way, the white domesticated pig that Mampog shoots down stands for the tamable life that the lowlands provide. Feeding a family would hypothetically be simpler as opportunities to work for a living in the bayan are far more reliable than the fruits of a hunt. Confronted with a alternative, Mampog does what he has always achieved and “kills” the white pig, desperate for meat for his household. He consequently loses his grip on actuality: the white pig (if there ever actually was one) is still alive and well, however visible only to him; the white pig transforms into a mysterious white determine (a forest dweller?); and he cuts down men who had eaten the pig roasted. Mampog has fallen out of favor with the forest, which then denies him which means. Solely his metamorphosis will reconcile—certainly, literally reincorporate—Mampog once more with the forest.



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Ordinary People (2016)

Ordinary People (2016)
Ordinary People (2016)
Director: Eduardo W. Roy Jr.
Writer: Eduardo W. Roy Jr.
Stars: Ronwaldo Martin, Hasmine Kilip, Maria Isabel Lopez
Plot Keywords: street | running | violence | crying | teen parents
Genres: Drama
Certificate: TV-MA
Official Sites: Official Facebook
Country: Philippines
Language: Filipino | Tagalog
Release Date: 31 August 2016 (Philippines)
Also Known As: Ordinary People
Production Co: Found Films

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Storyline
Jane and Aries are teenage parents. They make a living out of stealing on the streets... until fate hits back at them.

The movie, Pamilya Ordinaryo, depicts the on a regular basis life of teenage parents, Aries and Jane Ordinaryo, as they struggle to lift their little one by pickpocketing till fate decides to provide them a dose of their very own medicine.
Pamilya Ordinaryo is a heartbreaking sketch of a Philippine reality. If you're well aware of this reality already, then this movie serves as a reminder that issues are getting worse. In case you are aware however uninformed, then this movie will disturb you. In case you are neither aware nor informed, then this will transfer you to tears; if it doesn’t, melt your heart with compassion. Here are five realities portrayed within the film that may make you wince:

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Lando at Bugoy (2016)

Lando at Bugoy (2016)
Lando at Bugoy (2016)
Director: Vic Acedillo
Writer: Vic Acedillo
Stars: Allen Dizon, Jerould Aceron, Roger Gonzales
Genres: Drama
Official Sites: Official Facebook
Country: Philippines
Language: Filipino | Tagalog
Release Date: 6 August 2016 (Philippines)
Runtime: 85 min

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Storyline
Disrespected by his teenage son, a 40-year-old high school dropout tries to solve this problem by returning to school which only makes his son hate him even more. Amidst the struggle between them, an unexpected event changes everything.

am left with ambivalence upon learning in the credits roll that Lando at Bugoy is definitely inspired by a real-life story. Does that purported to elevate this film when it also happens to bolster the silent opinion that the straightforward execution makes it appear like it’s one thing you can watch on an “MMK” or a “Magpakailanman” episode? Positive, this movie performs out like a TELEVISION drama – it has a slow burn begin, pointless subplots and indulgence to a variety of heavy-handed metaphors. “Mahirap pukpukin and matigas na bato,” (It’s difficult to carve a hard stone) a personality makes an analogy between tombstone carving and responsible parenting. Maybe the same sentiment is also shared by the film’s struggle to inform a heart-melting story which comes out barely flat to me (or maybe that’s just my chilly stone heart speaking).

Lando Amora (Allen Dizon), a center-aged, excessive-college dropout and headstone carver, has a painful relationship together with his wayward teenage son Bugoy (Gold Azeron). The latter, taking the path of his father, wastes his likelihood to a proper schooling by skipping lessons and slacking-off together with his ne’er-do-well associates. At the expense of humiliation, Lando accepts his son’s dare to go back to high school in order to earn his admiration and problem him to do the same. As the two navigate all through the college 12 months, will his determination efficiently break the barrier between them?


There is an unbalanced paperweight to the titular characters Lando and Bugoy. Lando is a completely-molded character and one can empathize in his inner struggle to understand his son. Nevertheless, the film capitalizes Dizon and Azeron’s natural chemistry on quite a few bickering scenes that the movie couldn’t stress sufficient on Bugoy’s hostile habits. Therefore, Bugoy is sculpted as a mere one-dimensional character who can’t stand the whole lot about his father. We get to know that his hatred stems from the lack of his mom however that aspect of the story is just not actually delved into for us to empathize on his character as well. Instead, the film fills us extra with anecdotal subplots ranging from unnecessary (Bugoy’s love life) to creepy (Lando and his instructor’s flirtation scenes). The movie additionally has a dangling third act. The official synopsis states that “an unexpected event adjustments all the things” and I waited in va
in for that to happen. Perhaps that is the supposed climax scene the place Lando will get livid when some random child beats his son? However then what? The aftermath of that scene is rarely mentioned to make ample sense.

Lando at Bugoy banks on a relevant and customary floor – the struggles and rewards of a father-son/parent-baby relationship nevertheless its earnest intention is slightly trampled when it disconcertingly begins to advocate that oldsters aren't allowed to hit their kids anymore. (FYI, I’m all for Jap type of parenting). Contemplating that this takes place on a rural setting, a scene the place Bugoy unabashedly calls Lando an idiot straight into his face – his very father who’s relentlessly working to offer him access to education, to which the latter simply swallowed it as if it’s nothing, could be very unrealistic and revolting personally.

To his credit, director Vic Acedillo, Jr., makes this movie bearable by not turning it into a transparent-cut clichéd family drama and infusing some quips to its dialogues. He does a good job in casting the leads and even the regionally-casted bit players are a refreshing sight. On a aspect observe, the Sunken Cemetery of Camiguin Island is used as a backdrop for some elements
to additionally add to the local vibe. It even made its way to the official poster. Therefore, you possibly can’t blame me if I attempt to find some metaphorical relevance that’s happening. When I couldn’t, I just dismissed it as an extraneous element.

In the end, Lando at Bugoy takes pleasure at its simple goals and stays to be a pleasing movie to observe. However on a Cinemalaya competition-stage which has a theme of “Break the Surface”, that is the vanilla decide among the many choices. At its greatest, Lando at Bugoy does not engrave to the soul, it solely scratches its surface.

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The Day After Valentine's (2018)

The Day After Valentine's (2018)
The Day After Valentine's (2018)
Director: Jason Paul Laxamana
Writers: Jason Paul Laxamana (story), Jason Paul Laxamana
Stars: Bela Padilla, JC Santos, Regine Tolentino
Genres: Romance Country: Philippines Language: Filipino | Tagalog
Release Date: 15 August 2018 (Philippines) Production Co: Viva Films

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Movie information The Day After Valentine's (2018) is a Romace Movie Viva Films by the Director: Jason Paul Laxamana A woman should take the responsibility of helping a brokenhearted and self-destructive man to fix his problems.
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