There’s something magical about how natural and organic ‘Open Endings’ feels as a film. There’s a rhythm and flow to this slice-of-life story about four queer women who happen to be best friends while having had some romantic or sexual entanglement with each other at one point in their lives. The fact that they all consider themselves exes at some point is the film’s hook, but ‘Open Endings’ goes beyond a simple rom-com movie by also detailing how these four women navigate adulthood and try to reconcile their rather messy feelings without disrupting their friendship and their own sense of safety.
Director Nigel Santos and screenwriter Keavy Eunice Vicente don’t try to make broad, sweeping generalizations about being a queer woman in the Philippines and by doing so, they manage expectations and go beyond it.
BTS Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
The film’s issues involved become relatable and universal in the treatment of these women as individuals rather than some big allegory about the queer woman struggle. By keeping it personal and intimate, the film feels of this world. The characters become familiar and recognizable, and the audience then finds their own insights about the struggles of queer women today. It’s not force-fed and that’s where I found its charm.
Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
The film focuses on four queer women – Hannah (Jasmine Curtis-Smith), Charlie (Janella Salvador), Kit (Klea Pineda), and Mihan (Leanne Mamonong) – who gather every Sunday at Hannah’s house while going through their own issues with adulthood. Hannah is ready to move on after two years of grieving her late lover.
Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
Kit comes off as a player, regularly hooking up with other women, finds herself challenged by a growing tension with the mother of one of her students holds the key to unlocking her own free-spirited nature. Mihan still carries the torch for Hannah, whom she had been with for five years, but has commitment issues. While Charlie begins the story with her newly-formed-relationship having issues with Charlie being friends with her exes.
Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
Santos, Vicente, along with cinematographer Martika Ramirez Escobar and editor Maria Estela Paiso, keep the film from slipping into the realm of melodrama by avoiding the usual pitfalls of unnecessary overdramatic tropes. Paiso’s editing flows smoothly from one character to the next, never lingering or over-staying in a scene so that it doesn’t emphasize the drama but still highlights the character the conflict.
BTS Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
Escobar’s cinematography pushes in, so we see each character reacting, making decisions, taking all of it in and then pulling out to put them in context of time and space. This world – one which I’m not a part of or privy to – becomes so clear and inviting. I don’t have to be a queer woman to enjoy the humor and the pathos that the film portrays.
Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
And the ensemble carries a natural charm and comfort in their roles, giving the film a grounded edge that makes the film all the more accessible. Salvador and Curtis-Smith are excellent as Charlie and Hannah, with Curtis-Smith doing that difficult task of not making the nurturing and loving Hannah a stereotypical nice girl.
Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
As written, Hannah can be the most boring character of the bunch – a grieving woman who loves and takes care of her friends, sometimes to her own detriment – but Curtis-Smith doesn’t make her a caricature or a saint. It’s well done.
Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
Pineda is a powerful screen presence and manages to go against her gorgeous appearance for some truly funny moments. There’s a silliness that she can tap into that goes contrary to her amazing physicality that creates a nice tension and makes her more interesting to watch.
Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
But while all the performances are great, it is Mamonong who steals the show. She is the most comfortable in her character (despite having the heaviest conflict to portray) and she is the most natural in her delivery of her dialogue and her character’s quirks and eccentricities. It never feels like acting. Mamonong makes Mihan feel like a fully formed person. It’s really a breakthrough performance.
BTS Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division
There’s so much heart in ‘Open Endings,’ and the way the whole theater reacted to every story beat shows how the film holds down all the technical flourish to allow the story and the humanity of this film rise. Sometimes, the best craftsman are the ones that hide their skill that you only see the thing. All the elements – cinematography, writing, acting, editing, production design, music – just disappears and blends together that all I see is this lovely story of a messy but loveable group of friends navigating adulthood with all its open endings, as the film’s title suggests.
Open Endings is showing on the big screen. Check cinema showtimes near you and grab your tickets today.
This year, don’t miss Cinemalaya 21: LAYAG sa Alon, Hangin, at Unos happening from October 3-12, 2025! Witness another stellar lineup of stories that will move you and showcase the brilliance of Philippine cinema. Follow the Cultural Center of the Philippines and Cinemalaya for updates.
“Mckenna brings so much life to Clara,” says Allison Williams, who plays Morgan Grant, mom to Mckenna Grace’s Clara in the upcoming tragic romance Regretting You. “She’s an extraordinary actress.”
After the trailer’s August release, fans were immediately smitten. One admirer wrote:
“OMG, Mckenna is perfect as Clara.”
Ready to fall deeper into Clara’s world? Here are 12 fun facts that make her—and the actress behind her—truly unforgettable.
1. Starting young, soaring high
At 19, Mckenna Grace began acting at age 5. Her credits span Captain Marvel to The Handmaid’s Tale, for which she earned an Emmy nomination for Outstanding Guest Actress in a Drama Series.
“Clara has been such a special role for me,” says Grace. “She’s so complicated, mature and immature all at once.”
2. On‑screen love, real‑life friendship
Clara’s boyfriend Miller is played by Mason Thames — who, in real life, is one of Grace’s best friends.
“We already knew each other so well because we’ve been goofing off for the past year, doing all these stupid things,” Grace says of Thames. “And then, all of a sudden, we were working together, running around, having a blast!”
3. The first week was wild
The earliest scenes took place in Miller’s home, where the set included goats, horses, and more. Grace recalls this first week as her favorite. And yes, she traveled with her beloved Yorkie, Gizmo.
4. Sometimes, Clara stirs the pot
In one climactic scene, Miller accuses Clara of using him just to “piss off” her mom. Grace admits:
“Clara does some things that she knows will piss off her mama,” Grace laughs. “The interesting thing is that sometimes I don’t think she knows there’s a part of her that’s doing it to piss her off. Sometimes she definitely does, though, and does it anyways!”
5. Their shared passion: films
Clara dreams of acting; Miller wants to direct. Movies are one of their deepest bonds.
“Miller is a filmmaker, so he’s very creative,” notes Thames.
6. Guilty‑pleasure romance flicks
Miller apparently loves Elizabethtown (a Cameron Crowe film), a nod to director Josh Boone’s own inspirations.
7. Sharp wit, hidden pain
Though grief weighs on her, Clara still brings humor and sarcasm. As Thames teases:
“Whoever his first kiss was with, I bet it was nothing like his first kiss with Clara,” says Thames of when Miller and Clara’s romance first blooms. “That is a moment that everybody is looking for. And once you find it, it’s pretty special.”
8. Top student turned rebel
Before the tragedy, Clara was a straight‑A pupil. Afterwards, she spirals, rebelling and pushing away her mother through bad choices. Grace notes:
“There are a lot of bad decisions that Clara makes within her grief, just trying to figure herself out. Which I think makes her very human,” says Grace. “This film is about her and her mom trying to find each other again.”
9. A director steeped in adaptation
Josh Boone, who previously brought The Fault in Our Stars to film, now brings Regretting You to life.
10. Music is Clara’s compass
Music drives the film’s tone (you’ll notice an R.E.M. logo on Boone’s hoodie in set pics). He says he builds a movie’s identity around its soundtrack:
“Music is almost the starting point for me to even know whether to make a movie or not,” Boone says. “I worked at a record store for many years before I made movies, so the first thing I do is build a soundtrack. Music is important to Clara, too.”
11. A confidante in real life
Grace says she doesn’t carry many secrets but becomes “a vault” for others.
“I don’t have a lot of secrets of my own, but I am a vault for other people’s,” says Grace. “I’m somebody people tell a lot of secrets to. I never tell. I am a really, really good secret-keeper.”
12. Grace’s own musical heart
Offscreen, she’s a musician, having released 30+ songs since debuting her single “Haunted House” in 2021. She calls songwriting “is my therapy.”
Whether you’re a Colleen Hoover superfan or just love a story that’ll make you cry, laugh, and maybe call your mom — this is one fall movie you won’t want to miss.
In a future not so far from ours, justice is no longer handed down by humans. Instead, it’s calculated—coldly and precisely—by artificial intelligence. In Mercy, the electrifying new sci-fi thriller from Columbia Pictures, Chris Pratt stars as a man forced to outwit the very technology he once helped bring to life.
Set in a dystopian near-future, Mercy throws viewers into a chilling world where an A.I. judge, jury, and executioner determines guilt in a tightly controlled legal system. Accused of murdering his wife, Detective Chris Raven (Pratt) finds himself facing a ruthless machine programmed for absolute justice—with no time for mercy.
He has exactly 90 minutes to prove he’s innocent. If he fails, the verdict is death.
The Official Trailer Has Arrived
Feel the tension rise in every frame of the trailer. From pulse-pounding action to emotionally charged interrogations, Mercy teases a cinematic thrill ride powered by questions that cut deep: Can machines understand justice? And can a man outsmart the future he helped build?
Watch the trailer here:
Powerhouse Cast and Visionary Team
At the heart of Mercy are two captivating performances. Chris Pratt (Guardians of the Galaxy, Jurassic World) brings intensity and urgency to his role as a man battling not just for truth—but for his life. Opposite him, Rebecca Ferguson (Dune, Mission: Impossible) delivers an unforgettable performance as Judge Maddox, the advanced A.I. judge tasked with deciding Raven’s fate.
Mercy doesn’t just ask questions about the future of law enforcement and technology—it grabs you by the collar and forces you to feel its consequences. With a ticking clock, sleek visuals, and ethical dilemmas at every turn, this isn’t just a film—it’s a pulse-pounding wake-up call about justice in the age of A.I.
Coming Soon to Philippine Cinemas
Mercy will be released in Philippine theaters soon, with screenings available in IMAX and 3D for a fully immersive experience. Prepare for a cinematic event that fuses heart, thrills, and thought-provoking drama.
The film is distributed in the Philippines by Columbia Pictures, the local office of Sony Pictures Releasing International.
Follow the Conversation
Don’t miss updates, exclusive content, and behind-the-scenes reveals. Join the global discussion with the official hashtag: #MercyMovie and follow @columbiapicph.
Klook Travel Fest 2025 is back—and it’s bigger, bolder, and packed with unmissable deals for every kind of traveler. From October 10 to 12, 2025, SM Mall of Asia’s Main Atrium will transform into a travel paradise where visitors can score massive discounts, flash deals, and freebies from 10 AM to 8 PM daily.
“We’re very excited to be launching this year’s Klook Travel Fest! We’ve strategically patterned our promotions with the results of our Klook Travel Pulse from earlier this year to make sure we’re giving our Klookers deals aligned with what they’re actually looking for,” shared Ulla Roqueza, Klook Philippines’ Associate Director for Marketing.
Expect Buy-1-Get-1 Flash Deals, all-day giveaways, and exclusive 50% off promos, with vouchers offering savings of up to ₱10,000. Whether you’re planning a quick escape or a long-haul adventure, this is the best time to book that dream trip across a wide range of destinations, including the Philippines, Asia, Europe, and Australia.
If you’re planning a trip to Vietnam, this year’s festival has you covered with Buy 1 Get 1 Attraction Tickets for Sun World Vietnam. Look over the stunning views of rich forests and hills from the Sun World Ba Na Hills cable car or ride the breathtaking Alpine Coaster, one of the many attractions in the famous Fantasy Park. More of a beach person? After all the fun at Aquatopia Water Park and Exotica Park, Sun World Hon Thom offers immaculate white beaches, as well as the world’s longest cable car overlooking pristine blue waters. You can also bag tickets to Sun World Fansipan and take the scenic route to the peak of Fansipan Mountain. With options ranging from monorails and funiculars to cable cars and even hiking, the trip is easily customizable to suit your needs and interests.
Whether for family trips or solo travel, Sun World’s recreational parks are perfect for travelers and groups of all ages!
Hot Deals to Hop Around Hong Kong
Explore the beauty of Hong Kong after securing hot discount drops for activities across Asia’s World City. The Ngong Ping 360 Cable Car is a whole experience in itself that’ll sweep you off your feet with a scenic ride to the Ngong Ping Village. BigBus Hong Kong, on the other hand, is a guided open-top bus tour that takes you around the lush city of Hong Kong. Visit the iconic Ocean Park Hong Kong, where adventure awaits, whether you’re exploring the zoo or going on a thrilling ride. Don’t forget the magical Hong Kong Disneyland, where you can experience eight different themed lands that transport you to the magical world of Disney.
Get Even More Discounts with our Payment Partners
After adventuring through all that this year’s Klook Travel Fest has to offer, double down on your deals and get an extra PHP 500 off when you pay with GCash! Get an additional 10% off both local and trending destinations (like Thailand, Vietnam, and Taiwan), as well as 0% installment for 6 months when using GGives. Maya users get an exclusive 20% off first-time hotel bookings and an extra 15% off on experiences and transport for both local and international destinations. Check out with BDO Credit Cards and Debit Cards to get 15% off your total basket for optimal savings that can be used during your upcoming holiday instead!
Awarded the title Kreator of the Year in 2025, you’ll find Jax Reyes gracing the Klook Travel Fest 2025 stage with his TikTok-famous travel hacks! Also in attendance is the real and relatable Marvin Samaco, with his easy-going itinerary inspiration and budget travel tips. Famous travel Kreator, The Poor Traveler, will also be making an appearance to share helpful travel tips for first-timers. Expect more of your favorite Klook Kreators to step into the spotlight throughout the three exciting days of this travel fest.
How to Prepare for Klook Travel Fest 2025
Make sure you don’t miss out on this year’s festivities by following these five simple steps:
Download the app through the Google Play Store or the Apple Store.
Prepare all your essentials, like your government ID, your Klook App, and your admission QR code.
Make sure to visit the Klook Travel Fest 2025 for this year’s most exciting travel fest yet! Download the Klook app through the Google Play Store or the Apple Store to discover unforgettable experiences. For more information, follow Klook on Facebook, Instagram, and TikTok.
Jenn Romano’s ‘Padamlagan’ uses film to remember, stitching together interviews about the Naga tragedy using photographs to reimagine that era, while weaving in a narrative about a father whose son goes missing to encapsulate that feeling and making it tangible. The blurring of reality and fiction is an interesting use of the medium and pushes Romano’s message that the victims of the tragedy must not be forgotten. But Romano’s film aesthetic and style linger, is a quiet remembering but the story she is trying to tell needs a bit more volume.
The story in the middle of the retelling revolves around a father, Doring (Ely Buendia), who seems out of sorts, not fully in the present. He lives with his in-laws (Sue Prado and Floy Tena) while his son, Ivan (Esteban Mara), grows up and distant after a stint studying in Manila. The city of Naga is a buzz due to the fluvial procession for Our Lady of Peñafrancia. Ivan is at odds with his uncle and his father, unwilling to take part in the family going-ons and earning a reputation for being a troublemaker. When the Colgante Bridge collapses and hundreds die, Ivan goes missing. Doring spends the rest of the film looking for his son and witnessing the effects of that tragedy on the lives of the people around him.
In order to create that feeling of remembrance, Romano uses a lot of still shots. Her camera, lensed by Steven Paul Evangelio, barely moves while the world enters and exits the frame. Most of the time, the film takes a long shot keeping us distant from the characters and their business. This aesthetic can leave the audience cold because we don’t really get to see the full scope of the strains of the relationship between Doring and Ivan and Ivan with the rest of his family, especially his soldier uncle.
By using a still shot, the characters have to come into place, and this creates a lingering feeling. It slows down the pace and the energy of the film. It’s actually a standard 90-minute film but it can feel much longer. Except for a few actors, most of the dialogue in the narrative are delivered in short bursts with pauses or silences in-between lines. The dialogue doesn’t flow like conversational language, so the energy of the scene never really pushes through. Floyd Tena is the most conversational of the actors, delivering his dialogue (all of which is in Bicolano) with the most ease that his scenes are always the strongest, the most natural. Everyone else seems to be going through an emotional moment. Instead of nostalgia or emphasis, it makes the film feel over-dramatic.
As the main character, Buendia gets the most close-ups (followed by Mara), but unfortunately, Buendia has such a stoicism that he fails to really bring out his character’s interior world. The most telling of this is during the fluvial parade, where Doring is paddling surrounded by other paddlers on boats. Through sound effects, we realise the bridge is collapsing and all the other characters around him are panicking, their faces awash with horror. But Buendia’s face remains the same. There’s a slight tension in the jaw, but no other emotion comes out. His paddling doesn’t even change that much and so the effect of the tragedy is slightly diminished. And this is an issue I have throughout the rest of the film with him. He’s our foil, our way of understanding the story and the immense grief that followed the collapse of the bridge, but we never really get to feel it. On Mara’s close-ups, there is a world of hurt and pain there that’s hidden just below the eyes.
The film talks about the tragedy in detail but only slightly implies its effect and connection to the declaration of Martial Law just a few days after the tragedy. There are implications of Ivan’s possible engagement with the communist party and there are one or two scenes of police and military brutality but it’s not enough for the film to truly make any link between the tragedy of Colgante in 1972 and the declaration of Martial Law and all the tragedies that happened due to that declaration. There’s a causality that the film attempts at establishing but doesn’t quite hunker down in any real detail. The Colgante Bridge tragedy is an event entirely of its own and by mentioning that Martial Law was declared just days after bears no meaning.
The weight of memory bears down on ‘Padamlagan’ that the film doesn’t find its own two feet. There’s no catharsis in this film, a bold choice, but without a fuller understanding of Doring as a character or a means to visually grasp what he’s feeling, the film’s attempt to turn the feeling tangible escapes me. It’s strongest when it acts as memory, recounting real-life stories and showing photos of the event. That was more affecting than the film.
Padamlagan is showing on the big screen. Check cinema showtimes near you and grab your tickets today.
This year, don’t miss Cinemalaya 21: LAYAG sa Alon, Hangin, at Unos happening from October 3-12, 2025! Witness another stellar lineup of stories that will move you and showcase the brilliance of Philippine cinema. Follow the Cultural Center of the Philippines and Cinemalaya for updates.
The 21st Cinemalaya Philippine Independent Film Festival is closing its curtains with more than just a film screening—it’s ending with a grand tribute to a legend. On October 11 at 8:00 PM, Cinemalaya honors the late Mike De Leon, one of the country’s most respected auteurs, with a special presentation of his cult classic Kakabakaba Ka Ba? at Shangri-La Plaza’s Red Carpet Cinemas 1 & Premiere Theater.
Revisiting a Bold and Brilliant Classic
Released in 1980, Kakabakaba Ka Ba? is a genre-defying satirical musical-comedy that’s as eccentric as it is incisive. Directed and co-written by De Leon, alongside Clodualdo Del Mundo Jr. and Raquel Villavicencio, the film tells the outrageous tale of four Filipinos unwittingly caught in a smuggling operation upon their return to the Philippines. Their misadventure spirals into a madcap confrontation with a sinister crime syndicate that seeks to exploit the Catholic Church to manipulate the Filipino people.
A Life Shaped by Cinema, A Career That Shaped It Back
Born into a family deeply rooted in Philippine film history, Mike De Leon grew up within the grounds of LVN Pictures, a major studio founded by his grandmother, Doña Sisang. That cinematic upbringing ignited his passion and critical eye—both of which defined his illustrious career.
More than just a director, De Leon was a storyteller who challenged the system. His body of work tackled issues of corruption, power, identity, and the nation’s collective psyche. Through films like Batch ‘81, Kisapmata, and Sister Stella L., he exposed societal truths and used cinema as a mirror for the Filipino condition.
Celebrated at Home and Around the World
De Leon’s influence transcended national borders. His works were featured in prestigious international festivals, including:
Cannes Film Festival (Directors’ Fortnight, 1982) – Kisapmata and Batch ‘81
Venice Film Festival (1985) – Sister Stella L. as the country’s official entry
Museum of Modern Art (MoMA), New York (2022) – Retrospective screening of his films, including behind-the-scenes reels from Maynila, sa mga Kuko ng Liwanag, where he served as cinematographer
Awards and Accolades
A celebrated craftsman, De Leon earned numerous distinctions throughout his career. Kakabakaba Ka Ba? alone bagged:
2 FAMAS Awards – Best Editing and Best Sound
5 Gawad Urian Awards – including Best Director and Best Supporting Actor for Johnny Delgado
These honors reflect not just technical mastery, but the cultural and political boldness that marked his work.
How to Watch
Tickets to the closing night tribute are now available!
Follow the official Cinemalaya and CCP pages on Facebook, Instagram, X, and TikTok for real-time updates.
One Final Bow for a Master of the Craft
As Cinemalaya 21 wraps up another powerful run, it’s only fitting to go out celebrating a filmmaker who redefined the rules and reshaped our narratives. Mike De Leon’s fearless filmmaking continues to inspire generations—and on October 11, we celebrate not just a film, but a legacy.
Cinemalaya doesn’t just honor bold storytelling — it entrusts a carefully selected panel of cinephiles, critics, and creatives to determine which independent films will receive the prestigious Balanghai trophies. In its 21st year, the festival presents two juries: one for the Main Competition and one for the NETPAC Award — each composed of luminaries in their fields.
Christopher Strauss de Leon, more popularly known as Boyet de Leon, is a Filipino actor, and director. Often referred to as the “King of Philippine Drama”, he gained stardom for his leading man roles in numerous film and television productions in the period, romantic drama, and thriller genres. His work, covering more than five decades, has received various accolades, including eight FAMAS Awards, two Gawad Urian Awards, four Luna Awards, nine Star Awards, and eight Metro Manila Film Festival Awards. He is cited by critics as one of the best Filipino actors of all time. He is the recipient of many honorary accolades. He was awarded with the FAMAS Circle of Excellence Award, a star on the Eastwood City Walk of Fame, the Lino Brocka Lifetime Achievement Award by the Golden Screen Awards, and the Lifetime Achievement Award in Acting at the International Film Festival Manhattan.
Jose Lorenzo “Pepe” Diokno is an internationally acclaimed film director, producer, and screenwriter. At 22, Diokno directed his debut feature, Engkwentro (2009). The film premiered at the Cinemalaya Independent Film Festival and later competed at the Venice Film Festival, where it won the Lion of the Future – Luigi De Laurentiis Award and the Orizzonti Prize. He followed this success with Above the Clouds (2013), which premiered at the Tokyo International Film Festival and was nominated for Best Film at the Singapore International Film Festival; and Kapatiran (2014), which was selected for the Karlovy Vary International Film Festival. In 2016, he ventured into advertising with the production company UxS. He has since directed viral brand films for local and international companies, and the Department of Tourism (DOT). He trained under National Artist for Film Ricky Lee, and is an alumnus of Berlinale Talents in Germany, Torino Script Lab in Italy, and Produire Au Sud in France. He is currently developing new film and series projects under his own production company, Kapitol Films.
Mark Schilling
Film critic and journalist Mark Schilling has been reviewing Japanese films for The Japan Times, Japan’s oldest English-language newspaper since 1989, covering Japan for leading Hollywood trade publication Variety since 2005. He likewise serves as a program advisor for the Udine Far East Film Festival, Europe’s largest festival of Asian cinema since 2000. He has curated Udine Far East Film Festival retrospectives on Nikkatsu Action films (2005), the Shintoho studio (2010), Japanese SF/fantasy films (2016), and Japanese films from the 1980s and 1990s (2023/24). Schilling’s book publications include The Yakuza Movie Book – A Guide to Japanese Gangster Films (2003), No Borders, No Limits: Nikkatsu Action Cinema (2007), and Art, Cult and Commerce: Japanese Cinema Since 2000 (2019). He also wrote the original story for Convenience Story, a film directed by Miki Satoshi that opened in Japan in August 2022 and screened at festivals worldwide.
Sophia Wellington
Sophia Wellington is an educator, script consultant, and writer with over 20 years of experience in film and television. As an educator, she has worked around the world, teaching for seven years at the New York University Tisch School of the Arts Asia’s MA in Film and Dramatic Writing before returning to the London Film School (LFS) where she has been Head of Screenwriting since 2017. Her passion for storytelling came out of her interest in all areas of production. She has worked with various writers and directors from emerging talents to the Oscar winner actor and producer Salma Hayek Pinault, and has designed and run international screenwriting workshops in Singapore and Manila including several workshops on Writing for Film at the Cinemalaya Institute. Other workshops include Pitching and Development in Cuba at the Escuela Internacional de Cine y Televisión (EICTV). Wellington also mentors new talents and those underrepresented in the arts by running workshops for Luke Schiller’s Action Film Training, the h.Club Foundation, and Mouth that Roars.
Michiko Yamamoto has been writing for television and film since 2001. She is a writer of Reality MM Studios, collaborating with director Erik Matti and producer Dondon Monteverde for bold and genre-defying projects intended for local and international audiences. She is the screenwriter of Magnifico (2003), Ang Pagdadalaga ni Maximo Oliveros /The Blossoming of Maximo Oliveros (2005), On the Job (2013), Honor Thy Father (2015), and On the Job: The Missing 8 (2021). Ang Pagdadalaga premiered at Cinemalaya’s inaugural festival. She was a co-founder of Origin8 Media Corporation where she wrote and produced films such as Remington and the Curse of the Zombadings (2011). Her works were screened at major festivals including Berlin, Sundance, Cannes (Directors’ Fortnight), Venice, and Toronto. She is currently working on a Metro Manila Film Festival (MMFF) film entry and other film projects.
Luis Ramon “Loy” Arcenas’ Ang Larawan won five awards, including Best Film in the 2017 Metro Manila Film Festival, REquieme! won the 2012 Cinemalaya Special Jury Prize, and Niño, his first film, premiered in the 2011 Cinemalaya festival where it received the Special Jury Prize, was co-winner for the Best Film Award in the 2011 New Currents section of the Busan International Film Festival. His New York theatrical directing work is very much associated with the Ma-Yi Theatre Company. In the Philippines, he has directed David Henry Hwang’s Golden Child; Tatlong Mariya, Rody Vera’s adaptation of Chekov’s Three Sisters; Sarah Ruhl’s Eurydice, adapted by Guelan Luarca; Árbol de Fuego, Rody Vera’s adaptation of Chekhov’s The Cherry Orchard; and Kaliwaan, Guelan Luarca’s translation of Harold Pinter’s Betrayal. Arcenas has an established career as a theatrical set designer in the United States and the Philippines.
Irina “Ina” Feleo is a multidisciplinary artist whose work spans dance, acting, writing, and directing. She graduated with a Bachelor of Fine Arts in Creative Writing from Ateneo de Manila University, where she was honored with the Loyola Schools Dean’s Award for the Arts in Dance (2006). Her career in dance has been marked by international recognition, including being named Best Female Dancer at the Cheonan World Dance Festival in Korea (2011). In film, Feleo’s talent was quickly recognized: she won her first acting award in her debut movie Endo at Cinemalaya 2007, followed by another award for Sanglaan in 2009. She has since earned multiple nominations from prestigious award-giving bodies, including an Urian Best Actress nomination (2007) for Endo, and Best Supporting Actress nominations for OTJ: The Missing Eight (2023) and The Hearing (2025). Feleo has appeared in numerous acclaimed television dramas, balancing mainstream visibility with independent artistry. In 2009, she expanded her creative practice by directing her first short feature film, Labing-Labing. With a body of work that bridges stage, screen, and the written word, Feleo continues to evolve as a storyteller and performer, bringing depth and artistry to every medium she explores.
Pradip Kurbah, a self-taught filmmaker from Shillong, Meghalaya, is one of the leading voices in Khasi-language cinema. Through his work, he has brought stories from Northeast India to national and international audiences, blending cultural identity and universal themes. A three-time recipient of the National Film Award, Kurbah continues to be a pioneering force in regional cinema from Meghalaya. In addition to filmmaking, he has served as a jury member at several prestigious national and international film festivals, representing independent and regional Indian cinema on global platforms. Kurbah’s 2025 film, The Elysian Field (Ha Lyngkha Bneng), earned major recognition at the 47th Moscow International Film Festival, winning the Golden Saint George for Best Film, the Silver Saint George for Best Director, and the NETPAC Award for Best Asian Film. His other films likewise received numerous local and international awards such as Ïewduh (Market, 2019), Onaatah: Daughter of the Earth (2016), Ri: Homeland of Uncertainty (2014).
What to Watch For
Cinemalaya 21 opens October 3 with a red carpet and screening of The Elysian Field. It runs through October 12 across Red Carpet Cinemas (Shangri‑La Plaza), Ayala Malls Cinemas, and Gateway Cineplex 18.
With two juries seeking to honor vision, originality, craft, and cultural resonance, many filmmakers vie to sail away with the Balanghai trophies. Which films will win over these distinguished jurors — and who will define this edition’s narrative legacy?
Welcome to your Wednesday movie fix! October keeps the big-screen excitement rolling with three fresh releases that deliver something for every kind of moviegoer. TRON: Ares powers up the week with a high-octane digital showdown as Jared Leto leads the return to the iconic cyber world. For those craving heart and humanity, the Korean drama Run to You delivers emotion and grit as two runners chase redemption and dreams one heartbeat at a time. Then there’s The Strangers: Chapter 2, turning up the terror for horror fans who love edge-of-your-seat suspense and masked mayhem. But that’s not all, Cinemalaya 21: Layag sa Alon, Hangin, at Unós continues to make waves until October 12 at Red Carpet Cinemas, Gateway, and Ayala Malls Cinemas. It’s the perfect time to celebrate indie filmmaking while catching this week’s newest cinematic stories. Grab your friends, book your seats, and get ready for a midweek movie marathon.
Here’s your guide to everything hitting the big screen this week:
2025 • PG • 1 hr 58 mins ACTION, ADVENTURE, SCIENCE FICTION GET SHOWTIMES GET SHOWTIMES (3D/4DX)
The Tron legacy expands with a new chapter set both inside and beyond the digital grid. When a highly advanced Program named Ares (Jared Leto) crosses into the real world, it marks humanity’s first contact with artificial intelligence and a high-stakes clash between man and machine begins. With sleek visuals, futuristic battles, and a stellar cast, Tron: Ares brings the cyber world to life like never before.
2025 • PG • 1 hr 37 mins DRAMA, ROMANCE GET SHOWTIMES
Every second counts in this inspiring Korean sports drama about chasing dreams and confronting personal limits. Record-holding sprinter Kang Goo-young (Ha Seok-jin) is nearing the end of his career when young runner Kang Seung-yeol (Lee Sin-young) enters the scene, driven by pure passion. With DAHYUN adding a fresh spark, Run to You explores resilience, mentorship, and the thrill of never giving up even when the odds are just milliseconds away.
2025 • R-16 • 1 hr 36 mins HORROR, THRILLER GET SHOWTIMES
The masked killers are back and more ruthless than ever. After surviving their first terrifying encounter, Maya (Madelaine Petsch) must once again face The Strangers, who have returned to finish what they started. Claustrophobic tension, shocking twists, and relentless terror make The Strangers: Chapter 2 a must-watch for horror fans seeking chills that linger long after the credits roll.
Independent Filipino cinema continues to shine at Cinemalaya 21: Layag sa Alon, Hangin, at Unós, running until October 12 at Red Carpet Cinemas, Gateway, and Ayala Malls Cinemas. Featuring ten full-length films and ten shorts, this year’s lineup captures the resilience, imagination, and daring spirit of Filipino filmmakers, making it a festival worth catching before it sails into its closing weekend.
Don’t skip the 10 short films, packed with vivid imagery and deep feels, proving concise tales can hit hard. Plus, the 37th Gawad CCP Para sa Alternatibong Pelikula celebrates alternative works in narrative shorts, docs, experiments, and animations, crowning excellence with the Best Film Balanghai Trophy.
FAN FAVORITES STILL SHOWING
Missed last week’s releases? No worries, these crowd-pleasers are still packing theaters with action, laughs, and heart. Here’s what’s holding strong:
2025 • R-13 • 2 hrs 35 mins ACTION, ANIMATION, FANTASY, THRILLER GET SHOWTIMES
Sci-fi action, emotional drama, or horror mayhem, this week’s lineup has it all. Don’t overlook the vibrant Cinemalaya 21: LAYAG sa Alon, Hangin, at Unós, still captivating audiences from October 3 to 12, 2025. Whether you’re escaping to the grid, sprinting toward victory, or hiding from masked terror, the big screen has something waiting for you. Check ClickTheCity Movies for showtimes and snag your tickets today. Stay tuned for next week’s fresh releases and updates. Happy watching!
There is a lot of charm in Renei Dimla’s ‘Republika ng Pipolipinas.’ A seasoned scriptwriter with over a decade of experience and a Palanca Award under her belt for her screenplay of ‘Katay’, Dimla marks her debut as director with this film and while the script is funny and passionate about its subject matter while the direction could still use a bit of tightening up in some parts – comedy is very tricky to pull off, after all – but for a first time director, it’s quite laudable.
‘Republika ng Pipolipinas’ is a mockumentary that follows the story of Cora Vitug (Geraldine Villamil), who decides to give up her Philippine citizenship and decides to start her own country, Pipolipinas. Cora has lost her land through some political maneuvering, and she now stands firm in not giving up her farm and establishing her micronation. As her story goes viral, she finds other people willing to join her micronation, including the actress Alessandra De Rossi (playing herself), and the fight for her right to keep what her family has worked on for several generations start to escalate as evidence of corruption starts to appear.
RUPUBLIKA NG PIPOLIPINAS | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’
As a mockumentary, ‘Republika ng Pipolipinas’ takes on a documentary approach to the telling of the story, though at times, the film takes on an omniscient point-of-view in order to capture some of the funnier moments through cinematic frame rather than the personal, documentary style. The inconsistency of the mockumentary style weakens the overall delivery of the message as some parts hits hard because of the aesthetic and then, as it shifts to a more narrative POV, it tends to lose that bite in favour of its more comic moments.
And this is also where Dimla’s inexperience comes in. Comedy is all about timing. It’s about setting up the joke, making the punchline land, and then moving on to the next scene. There are moments when the scene lingers, allowing the punchline to settle, which kills the comedy. There are lines and actions that could have been funnier if the edit was quicker, snappier. Comedy is all about timing and ‘Republika ng Pipolipinas’ would benefit for not underlining the jokes.
But with that being said, there’s a lot to enjoy in the film. When the jokes land, it lands hard. The whole ensemble is fun to watch as they are obviously having fun with the material themselves but it never feels like an inside joke.
RUPUBLIKA NG PIPOLIPINAS | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’RUPUBLIKA NG PIPOLIPINAS | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’
Villamil is excellent as Cora Vitug, giving off a fiery temperament as she goes head-to-head with the local government but softens when she takes care of the people around her.
RUPUBLIKA NG PIPOLIPINAS | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’
And the film is not without its hard-hitting political messages, these moments of insight about the failure of our government to protect its people and the interest of the citizens, that works well within the framework of the mockumentary aesthetic. It’s why the consistency of the form would have been preferred.
RUPUBLIKA NG PIPOLIPINAS | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’
‘Republika ng Pipolipinas’ feels big and manages to make a mountain out of this tiny micronation in the middle of the rural area of the country. Villamil and the rest of the brilliant cast help create a believable struggle that is a shared struggle with every other Filipino. It is so timely with the issues currently at hand in government with corruption in every corner. Its timeliness supersedes its little flaws because its heart is as big as its rather moving ending.
This year, don’t miss Cinemalaya 21: LAYAG sa Alon, Hangin, at Unos happening from October 3-12, 2025! Witness another stellar lineup of stories that will move you and showcase the brilliance of Philippine cinema. Follow the Cultural Center of the Philippines and Cinemalaya for updates!
True to its spirit of fearless storytelling, the Cinemalaya Philippine Independent Film Festival is back—and it’s more daring, dynamic, and defiant than ever.
Happening from October 3 to 12, this year’s 21st edition bears the theme: “Cinemalaya 21: Layag sa Alon, Hangin, at Unos”—a poetic call to navigate not just the waves of cinema, but the crosscurrents of social change and creative risk-taking. Once again, Cinemalaya proves it remains a powerful vessel for Filipino filmmakers ready to brave artistic storms and rise above the tides.
A Fierce Lineup: 10 Full-Length Films in Competition
Anchored in imagination and artistic integrity, Cinemalaya 21 unveils 10 full-length feature films vying for the coveted Best Film Balanghai Trophy:
The Cagayan Valley Region in the Philippines serves as the dedicated workplace of Agnes (a development worker), the chosen home of Amanda (a jailed mother-artist-activist), and the birthplace of Randy (a slain peace consultant). Yet, they find themselves unable to return home: one is relentlessly pursued by the government, another is imprisoned, and the third is killed on his journey home. The paths taken by these three activists will be explored including the pit stops, obstacles, detours, and the long road ahead in the journey towards rebuilding a home with the people of Cagayan – a place that they work together to shape, and also shape who they are. Amid all these, the film explores their disrupted connections to home and celebrates their enduring resilience in the face of adversity.
Maximo “Boy Kana” Maniego Sr., the biggest action-fantasy movie star of Philippine Cinema, has passed away. Max, a 17-year-old student rumored to be an illegitimate son of the late icon, has to prove that he is the 82nd child before the end of the public viewing hours. When proven, it can help Max claim his identity, inheritance, and showbiz dream to support his pregnant teenage girlfriend and their baby. Will Max reach the casket before the clock strikes if he needs to stand in line with hundreds of fans and villains who also claim their places in Boy Kana’s life?
A young filmmaker sets out to recreate forgotten massacres from Philippine history. But when she is challenged by the committee that is belittling her skills, she agrees to go to the present-day war-torn locations where the atrocities occurred. Overcoming one obstacle after another with her small crew, they begin shooting at a site where a thousand men, women and children were slaughtered. But as soon as the camera starts rolling, the angry spirits are awakened, and the lives of her team and the villagers are put in peril. The brutal traumas of history echoing to the present day.
Four Filipinos cope with life after a painful political defeat. Kiko, a political strategist, questions the purpose of his lifelong struggle. Bea, a history professor, attempts to teach a past her country would rather forget. David, a disillusioned speechwriter, becomes entrapped by the very lies he tries to challenge. Mela, an election lawyer, confronts family secrets she has long avoided. Each one searches for purpose as truths fade, histories blur, and memory itself becomes an act of defiance.
As the Naga community collectively recalls the 1972 Colgante Bridge tragedy through archives and memory, we see Doring — a devoted voyador — caught between faith, tradition, and the fractures within his own family. Every year, he joins thousands in Naga City’s fluvial procession for Our Lady of Peñafrancia, but this year feels different. His estranged son Ivan has just returned from Manila, restless and questioning, a presence both near and distant.
After years of trauma from pervasive sexual harassment at her workplace, Jonalyn Samuel quietly lives as a recluse. A passionate lawyer, however, finds and persuades Jonalyn to file a case against her former employer, the CEO of one of the biggest companies in the country. Initially reluctant, the lawyer explains that times have changed and the woke generation will greatly help in pursuing justice. Convinced, Jonalyn takes a risk and finds hope through the overwhelming support she receives through social media. But, the platform that initially gives her assurance soon becomes a toxic space that presents her as a heartless perpetrator instead of a victim.
follows Hannah, Charlie, Kit, and Mihan, four queer women in their early 30s who share a deeply entangled history: first girl crush, first girlfriend, first kiss, first love, great love, heartbreaks, one-night stands, even ghosting. The romance may have ended, but the friendship held strong. When Hannah is pulled into deep grief, the others show up without hesitation. Through breakups, family drama, and personal struggles, they keep choosing one another. Just when life starts to feel stable, Hannah is faced with a decision that changes everything without warning. Can their friendship carry the weight of what’s next? Will old feelings resurface?
Cora Vitug, a disillusioned farmer, protests against the government’s plan to take her land and home by renouncing her Filipino citizenship and building her own micronation she calls Republika ng Pipolipinas. Her solitary act of defiance divides people. She inspires some while gaining the unfair judgement of many who question her motives and her sanity. When a new government project hastens her displacement, Cora and the people who believe in her cause set out to reveal the webbed corruption that extends far beyond the confines of the small town. As they work against the clock and with looming threats against their freedom, Cora and the citizens of Republika ng Pipolipinas prove that what truly makes a great nation is not its land nor its history, but the courage of its people.
Set in the mid-90s in Sibuyan, Romblon, Philippines, Raging follows Eli, a young man in his late teens who was raped by one of his peers. After reporting the incident to the authorities and having it dismissed to be a playful prank between friends, he retreats into a world of silence and isolation, magnified when his father leaves him to work in a covert mining site in their small town. When he tries to return to normal life, his abuser continues to appear, casting a shadow over his every move and provoking at every opportunity. One night, when Eli witnesses a plane crash that vanishes without a trace, something sparks inside him, igniting a strong desire to break his silence. This strange event leads him to conduct a personal quest that parallels his quest for justice.
Young Kitkat is taken in by Joice, who leads a group of transgender women kidnapping foreigners to fund gender-affirming surgeries that they believe will finally allow them to live as their true selves. Kitkat, however, does not feel the need to change her body to be a real woman. The others in the gang, like Luningning and Barbie Ann, carry the heavy scars of rejection, deep gender dysphoria, and painful memories of cruelty they have endured, making the surgeries feel like a lifeline. For Kitkat, who has never known acceptance from a family, finding belonging with these women is both healing and complicated, as she must confront the harsh and destructive choices the group makes. Loosely based on a true story, this crime drama explores how women who long to stop being preyed upon transform into perpetrators, carving out power in the only space they feel is left to them.
Each title presents a distinct point of view—unfiltered, fearless, and fully Filipino.
Spotlight on Short Films: 10 Compact Cinematic Gems
Small in length but big in impact, the Short Feature Film competition lineup showcases:
These 10 shorts promise striking visuals, raw emotion, and groundbreaking perspectives—proof that brevity can still pack a punch.
More Screens, More Stories: Cinemalaya Goes Nationwide
The Cultural Center of the Philippines (CCP) and Cinemalaya Foundation, Inc. are expanding horizons further by making this year’s festival more accessible than ever. In addition to Ayala Malls—Cinemalaya’s long-time partner—Red Carpet Cinemas by Shangri-La Plaza joins the list as a main venue. Gateway Cineplex is also onboard, ensuring more audiences can catch these independent gems on the big screen.
Alternatibo in Focus: Gawad CCP Para sa Alternatibong Pelikula
Running alongside the festival is the 37th Gawad CCP Para sa Alternatibong Pelikula at Video—Southeast Asia’s longest-running competition for alternative film. It honors excellence in Narrative Shorts, Documentaries, Experimental Films, and Animation, reinforcing the commitment to diverse and innovative Filipino storytelling.
Two Decades of Impact: Cinemalaya’s Legacy
Since its inception in 2005, Cinemalaya has championed over 1,000 independent films, helping launch the careers of visionary filmmakers whose works have earned accolades both locally and globally. Now in its 21st year, the festival continues to chart new creative territories—unstoppable, unfiltered, and undeniably Filipino.
So whether you’re a cinephile, a curious viewer, or someone looking for honest stories with heart, Cinemalaya 21 welcomes you aboard. Let the stories stir you, the images move you, and the waves of truth carry you forward.
