Contemporary Philippine Films

1950
The 1950s was labeled as the first golden age of Philippine cinema. Four big production studios (LVN Pictures, Sampaguita
Pictures, Premiere Productions and Lebran International) were at their peak in filmmaking, employing premier directors like Gerardo de
León, Eddie Romero and César Gallardo while contracting the biggest stars of that period. The Filipino film industry was one of the
busiest and bustling film communities in Asia, releasing an average of 350 films a year making Philippines second to Japan in terms of
film productions a year.
Famous Actors of the Golden Cinema
 FPJ, SUSAN ROCES
 Amalia Fuentes and Romano Castellvi
The premier directors of the era
• Lamberto Avellana (19151991)
• Gerardo de León (19131981)
 Gregorio Fernández César Gallardo
 Armando Garces Cirio Santiago (1936-2008)
Post-war Visayan Cinema and its resurgence
In the Visayas after the second world war, a resurgence of Visayan films came about through Lapu-Lapu Pictures, which
produced Timbu Mata (1948), starring Eva de Villa and Lino Ramas and Damgo ni Adan (Adan's Dream), produced by Rudy Robles.
Then came Mactan Films which produced Tahas (Mission; 1950), starring Luz Celeste and Dakay; Mat Ranillo was in this film. Then
Balud (Wave; 1950) which starred Luz Celeste and Mat Ranillo. Another independent picture, Sa Kabukiran (In the Fields; 1948), was
also produced during this time.
Post War Visayan Actors
• Matt Ranillo Jr. and Gloria Sevilla
Visayan Era
• By 1951, Azucena Productions was established by the Arong Family (owners of Rene and Liberty Theaters). They produced
Princesa Tirana (Princess Tirana), 1951 with Mat Ranillo and Gloria Sevilla (her first feature title role after she was discovered through a
declamation contest at the University of the Visayas) as lead players. Their first feature together made such a box office success in the
Visayas and Mindanao that other features immediately.
• followed: Leonora (1951), Pailub Lang (Be Forebearing; 1951), Utlanan(Border; 1952), Handumanan (Memoir; 1953), Inahan
(Mother; 1952), starring Mat Ranillo and Caridad Sanchez; Antigan (1952) with Virgie Postigo and Arise Roa; Carmen 1 and 2 (from the
famous radio drama in Cebu; 1953), Paabuta Lang Ako (Wait for Me; 1953), Gloria Kong Anak (Gloria My Child; 1953), and Gihigugma
Kong Ikaw (I Love You; 1954). Mat and Gloria then became synonymous to Visayan pictures, and since then were called as the King
and Queen of Visayan Movies
Eddie Sinco Romero
• Romero was named National Artist of the Philippines in 2003, and his body of work delved into the history and politics of his
country. His 1976 film Ganito Kami Noon…Paano Kayo Ngayon?, set at the turn of the 20th century during the revolution against the
Spaniards and, later, the American colonizers, follows a naïve peasant through his leap of faith to become a member of an imagined
community. Agila situated a family’s story against the backdrop of Filipino history, while Kamakalawa explored the folklore of prehistoric
Philippines. Banta ng Kahapon, his "small" political film, was set against the turmoil of the late 1960s, tracing the connection of the
underworld to the corrupt halls of politics..
• Edgar Mortiz and Vilma Santos, and Nora Aunor and Tirso Cruz III
1970
• The 1970s saw the emergence of more Visayan talents in the Tagalog film industry. Actresses such as Chanda Romero,
Caridad Sanchez, Alma Moreno, Tessie Sevilla, Rebecca Torres, Aurora Villa, Eva de Villa, Rosita Fernandez, Virgie Postigo, Virgie
Solis, Olivia Solis, Cora Real, Diana Arong, Luz Celeste, Annabelle Rama, Suzette Ranillo, Lady Ramos, Pilar Pilapil, and others stepped
into the limelight. Male leads (to name a few) were Bert Nombrado, Ber Lopez, Tony Delgado, Riel Ylaya, Lino Ramas, Arturo Blanco,
Arturo de Castille, Frankie Navaja Jr, Tony Cruz, Undo Juezan, Felix de Catalina, Arsie Roa, Warfi Engracia, Kadyo Roma and Romy
Kintanar (who is now a sports commentator).
• In 1972, the Philippines was placed under the martial law, and films were used as propaganda vehicles. President Ferdinand
Marcos and his technocrats sought to regulate filmmaking through the creation of the Board of Censors for Motion Pictures (BCMP).
Prior to the start of filming, a finished script was required to be submitted to the Board and incorporate the "ideology" of the New Society
Movement such as, a new sense of discipline, uprightness and love of country. Annual festivals were revived, and the Bomba films as
well as political movies critical of the Marcos administration were banned
1970s Film
• “Insiang” is Lino Brocka's 1976
• Manila in the Claws of Light is a 1975 Filipino drama film directed by Lino Brocka
Experimental Cinema of the Philippines
• The Experimental Cinema of the Philippines (ECP) was a government-owned corporation of the Republic of the Philippines
created to promote the growth and development of the local film industry. Created in 1982 after the first Manila International Film Festival
through Executive Order 770, the ECP was primarily known as a production company
Experimental Cinema Films
• Himala and Oro Plata Mata

Peque Gallaga
• Peque Gallaga (born Maurice Ruiz de Luzuriaga Gallaga on August 25, 1943) is a multiawarded Filipino film-maker. His most
significant achievement in film is "Oro, Plata, Mata", which he directed after winning a scriptwriting contest sponsored by the Experimental
Cinema of the Philippines. He has received an award from the International Film Festival of Flanders-Ghent, Belgium in 1983; a Special
Jury Award from the Manila International Film Festival; and the 2004 Gawad CCP Para sa Sining.
1980s to 1900
• Around this period, most Filipino films were mass-produced with quality sacrificed for commercial success. Story lines were
unimaginative and predictable, comedy was slapstick, and the acting was either mediocre or overly dramatic. Producers were antipathetic
to new ideas, or risk-taking. Instead, they resorted to formulas that worked well in the past that cater to the standards and tastes of the
masses. Teen-oriented films, massacre movies, and soft pornographic pictures composed the majority of the genre produced
1990 Bomba Films or Pito-Pito Films
• The film industry prospered and produced more than 200 films a year. Majority of them were pito-pito films, shot in seven to
ten days and aimed at quickly recouping their minimal costs. Attendance in theaters rose and several productions became huge
successes. New laws were also introduced that gave more rights to women, causing several female directors to launch careers
Pito –Pito Films
• Masara na Pugad and Ligaya ang Itawag mo sa Akin
Historical Films
• Sakay • Jose Rizal
Comedy Film
• Megamol and Humanap Ka ng Panget
2000's Decline of Movies and Emergence of Indie Films
• The dawn of this era saw a dramatic decline of the Philippine movie industry. Hollywood films dominated mainstream cinema
even more, and fewer than twenty quality local films were being produced and shown yearly. Many producers and production houses
later stopped producing films after losing millions of pesos.There after, a new sense of excitement and trend enveloped the industry with
the coming of digital and experimental cinema. Seemingly signalling this was the winning of the Palme d'Or at the Cannes Film Festival
2000 of Raymond Red's short film ANINO (Shadows). But truly pioneering this digital revolution was the 1999 digital feature film "STILL
LIVES" by Jon Red. Many other digital filmmakers soon followed suit. Cheaper production cost using digital media over film has helped
the rebirth of independent filmmaking.
Philippines in the International Film circle
• The year 2009 brought the highest international esteem to a Filipino filmmaker when Brillante Mendoza was judged as the
Best Director at the 62nd Cannes Film Festival for his film Kinatay (literally "Butchered"), about murder and police brutality. The film was
notorious for being critically panned by Roger Ebert, a distinguished and worldfamous film critic, who declared it the worst film ever to be
shown at the Cannes Film Festival.
2010s: Commercial Renaissance
• In the year 2009, presence of box-office films in the Philippine Box Office has surged, with You Changed My Life starring Sarah
Geronimo and John Lloyd Cruz generated ₱230 million, making it the first Filipino movies to breach the 200 million pesos mark. This
started the commercial box office success trend in the Philippine Cinema.
• In 2011 is the most fruitful year in Philippine Cinema history as 3 of its films (all from Star Cinema) landed in the top 3 of the
highest grossing Filipino Film of All-Time. Vice Ganda's The Unkabogable Praybeyt Benjamin grossed ₱331.6 million in box office and
became the highest grossing local film in the Philippines. No Other Woman grossed ₱278.39 million while 2011 Metro Manila Film
Festival ("MMFF") entry Enteng Ng Ina Mo, has a gross income of ₱237.89 million (as of January 7, 2012) and considered as the highest
grossing MMFF entry of all time. However, Sisterakas , a Kris Aquino-Ai Ai delas Alas-Vice Ganda movie, replaced the title of Enteng ng
Ina Mo and the Unkabogable Praybeyt Benjamin as it became the highest grossing Filipino film and highest grossing MMFF entry of all
time.
Regional Influence
• Bohol –Panaghoy sa Suba
• Tawi Tawi—Thy Womb
• Pampanga-- Serbis
• Palawan--Ploning