When the truth is put in the foreground, we have no choice but to reflect. From ‘General Admission’ to ‘Ang Duyan ng Magiting,’ ‘Habang Nilalamon ng Hydra ang Kasaysayan’ introduces to us a new age of Dustin Celestino films.

In Jenn Romano’s solemn, understated debut feature ‘Padamlágan,’ an all-Bicolano cast tells the story of a dark and near-forgotten chapter of Naga City: the 1972 Colgante Bridge tragedy, that would predate the declaration of Martial Law by only a few days. 

‘Republika ng Pipolipinas’ is a comedy, yes, but with all the harsh realities happening in our country, the film doesn’t feel funny anymore.

‘Cinemalaya 21 Shorts’ bring out new and wild imaginations of our country.

‘Raging’ never really settled for finding justice for Eli, as the justice he was searching for would wreck the community that couldn’t handle it. Machado calls for a safe space where such events can be prevented.

Cheska Marfori’s Cinemalaya entry, ‘Paglilitis’, plays like an hour long episode of Ipaglaban Mo or Maalaala Mo Kaya, minus the voiceovers of a host. By the end, it leaves you with lingering questions that shouldn’t have stayed with you had it deliver a more reliable ending.

A power play of sisterhood, ‘Warla’ is a queer fable of one’s impulsive rage that turns into a tragedy. The powerful emotions of wrath and revenge overtake one’s agency and plans, like a wild animal lashing out when wounded or deliberately hurt.

‘Cinemartyrs’ does not merely revisit the past but lets it breathe again, to tremble and to speak, through image and sound.

The closing montage is not a final statement, because there can be no final statements in a continued struggle. ‘Bloom Where You Are Planted’ is the rare film that continues long after the credits roll.

‘Open Endings ’ shows an in-depth understanding of systemic restraints, which reflect on the real-life struggles of queer women navigating their places through love, acceptance, and friendship.

Brocka X Bernal is a love letter to the titular two legends of Philippine cinema, from the stars who loved them and for the generations after who might need a reintroduction.

‘The Hearing’ builds upon the easy ironies and parallels of its premise to create an immersive legal drama that prioritizes victims of abuse and sexual assault above everything else.

‘Asog’ is a transgressive docudrama that defiantly stands up in resistance against the powerful forces of oppression that dominate Filipino society. It’s a reminder of the importance of solidarity and resilience in the face of human tragedy.

 ‘An Errand’ is not constructed kindly. It chooses to luxuriate in a loose and unbounded form with polarizing results... It is the type of film more appropriately found in the MUBI catalog, because it isn't the friendliest for most moviegoers.

 The Wedding Dance might not be the best Cinemalaya film this year, but its attempt to dissect patriarchy through the lens of marriage in the Kalinga community makes it worth watching.

‘Balota’ is a story that packs in hard-hitting action, compelling drama, and witty comedy. While its performances shine, the film needed more breathing room to amplify its larger-than-life message.

‘Kantil’ is a strong debut film by Joshua Caesar Medroso, but so much has to be said in such a limited amount of time.

‘José Rizal’ is a classic that the following generations of Filipinos will revere and remember, now in its remastered form.

Through the newly restored ‘Bona,’ Lino Brocka renders water so sociopolitically volatile and cinematically iconic that even after four decades, its impact is still felt on our skin.

‘Kono Basho’ excels at using quiet moments for reflection, and while it may not turn out as smoothly as I had hoped, there is promise in seeing more stories about healing and hope in Philippine cinema.