Happy Happy Birthday Teh @vicegandako
Wishing you abundant happiness and love for many more years to come! I LOVE YOU! 😘💋🫶
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✨Mon Natividad✨
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#ViceGanda #27thInkblots
The Varsitarian@varsitarianust
VICE GANDA IS HERE! LOOK: Filipino box-office star Vice Ganda arrives for the 27th Inkblots, ahead of her mock press conference with Manila Bulletin columnist Nestor Cuartero. #27thInkblots (Photos by Ethan Joshua Nikholai F. Guisama/ The Varsitarian)
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Society of Filipino Film Reviewers (SFFR)@sffrPinoyRebyu
THE SCORES ARE IN! A total of 18 Society members were able to watch at least 5 entries from the Metro Manila Film Festival 2025 as of January 2. Click the individual photos to see how our members rated the 8 entries of the MMFF. The MMFF is ongoing until January 7. #MMFF51
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Nicol@nikowl
𝟐𝟎𝟐𝟓 𝐌𝐄𝐓𝐑𝐎 𝐌𝐀𝐍𝐈𝐋𝐀 𝐅𝐈𝐋𝐌 𝐅𝐄𝐒𝐓𝐈𝐕𝐀𝐋 𝐒𝐂𝐎𝐑𝐄𝐂𝐀𝐑𝐃 As the Metro Manila Film Festival enters a new decade, the country’s biggest and most prominent film fest is making a serious case for why this tradition should continue to be upheld in the time of streaming and TikTok videos. Ticket prices range mostly in the 400-peso range if you’re living in Manila and within the closer regions, and given how expensive the cost of living is nowadays due to inflation, going to the cinema has been more of an event than a hobby. Add the fact that you’re very likely to see these films pop up on Netflix after five months, and then convincing the general audience to show up on Christmas Day feels more of a continuous challenge, a give and take of Aguinaldo and pamasko season. All is not lost, of course. I’d like to believe that this year they’ve made some good adjustments both in terms of lineup and policies so as to try and hope that somehow it will put a stop to a possible but realistic stagnancy. Moving the entries back to eight (after two years of a 10-movie lineup) is a good start. That impressive lineup of jury headed by Doy del Mundo with Jerrold Tarog, Ericson Navarro, Gladys Reyes, and Alem Ang as some of the jury members is hella impressive. Anyway, here are my quick thoughts on this year’s MMFF lineup, in alphabetical order. 🎟️ 𝐁𝐀𝐑 𝐁𝐎𝐘𝐒: 𝐀𝐅𝐓𝐄𝐑 𝐒𝐂𝐇𝐎𝐎𝐋 (𝐊𝐢𝐩 𝐎𝐞𝐛𝐚𝐧𝐝𝐚) 🎟️ Admittedly not too big on the original version, the good thing about this sequel, which is set exactly ten years since we’ve last seen these characters, is that the film was able to maintain the sense of familiarity we’ve had with Erik, Torran, Chris, and Joshua. At the same time, we were introduced to a new set of law students—Arvin, CJ, and Trisha—all blending in perfectly with the characters we’ve already known. All this while Justice Hernandez is having a Tuesdays with Morrie storyline of her own. Bar Boys: After School was successful in striking that balance of giving an ode to its past while introducing some new blood. A decent and competent follow-up to its 2017 predecessor. 𝟑/𝟓 🎟️ 𝐂𝐀𝐋𝐋 𝐌𝐄 𝐌𝐎𝐓𝐇𝐄𝐑 (𝐉𝐮𝐧 𝐑𝐨𝐛𝐥𝐞𝐬 𝐋𝐚𝐧𝐚) 🎟️ Yup, they all mothered hard here. The partnership of Jun Lana and Vice Ganda has turned in something that feels set to be a future classic. Call Me Mother is an upgrade from their previous material And the Breadwinner Is, wherein this feels more focused, less forced, and sticks to its main premise. While the film still contains suspension of disbelief and endless comedic moments, it never loses sight of what it’s about. Anchored with an actually great Vice Ganda performance that’s humane and realistic, Nadine Lustre continuously flexing her range by going back to her comedic roots, and a great find in child star Lucas Andalio, this film instantly cements its place in the MMFF all-timer canon. 𝟒.𝟓/𝟓 🎟️ 𝐈’𝐌𝐏𝐄𝐑𝐅𝐄𝐂𝐓 (𝐒𝐢𝐠𝐫𝐢𝐝 𝐀𝐧𝐝𝐫𝐞𝐚 𝐁𝐞𝐫𝐧𝐚𝐫𝐝𝐨) 🎟️ Something about shining the light on characters and people with Down’s Syndrome without totally making it some sort of a pity party is probably the best thing about Sigrid Andrea Bernardo’s Best Picture winner ImPerfect. It totally embraces the characters of Jiro and Jessica, turning it into an effective rom-com, with two charming leads to carry the film. Sure, you can say it comes with a pretty reliable bunch of character actors supporting them, but if anything, the film’s charm relies heavily on its two leads. It could have trimmed off a good 10-15 minutes when all is said and done, but the film’s whole earnest demeanor is commendable. 𝟑/𝟓 🎟️ 𝐋𝐎𝐕𝐄 𝐘𝐎𝐔 𝐒𝐎 𝐁𝐀𝐃 (𝐌𝐚𝐞 𝐂𝐫𝐮𝐳 𝐀𝐥𝐯𝐢𝐚𝐫) 🎟️ Surprisingly not terrible, thanks to the chemistry of the three leads. Whether you’re a WillCa supporter or more of a Dustbia one, Bianca de Vera’s chemistry with both leads oozes all throughout. It wasn’t able to capture the highs of something like Vince, Kath, and James, or Dahil Mahal na Mahal Kita, two films you’ll likely attach to this one, but the film works best when the leads are together. Unfortunately, it gets bogged down every time it switches to their own parent storylines, and you have all three of them having some sort of parental issues, which feels a bit forced to give them some heavier material to balance it out. All in all, it’s tolerable in all its Wattpad glory. 𝟐.𝟓/𝟓 🎟️ 𝐌𝐀𝐍𝐈𝐋𝐀’𝐒 𝐅𝐈𝐍𝐄𝐒𝐓 (𝐑𝐚𝐲𝐦𝐨𝐧𝐝 𝐑𝐞𝐝) 🎟️ Cannes Palme d’Or Short Film winner Raymond Red’s first foray into the Metro Manila Film Festival is an exercise in mood and atmosphere set in Manila during the late 60s/early 70s. As a matter of fact, the film begins right after Gloria Diaz brings home the first Miss Universe title for the Philippines in 1969, coinciding with Neil Armstrong and the moon landing. Red’s slow-burn approach does not chase for big moments; instead, it follows a series of day-to-day activities in one Manila police station. But what makes it effective is how the setting is still applicable to the present day—corrupt practices creeping in, some men in uniform abusing their power, and that painful reminder that half a century later, it may have even gotten worse than before. Strong ensemble acting, particularly from Ashtine Olviga, Romnick Sarmenta, and Cedrick Juan. 𝟑.𝟓/𝟓 🎟️ 𝐑𝐄𝐊𝐎𝐍𝐄𝐊 (𝐉𝐚𝐝𝐞 𝐂𝐚𝐬𝐭𝐫𝐨) 🎟️ At one point, there was a clamor for this type of Love Actually-type interconnected anthology at the MMFF, probably last seen in Antoinette Jadaone’s All You Need is Pag-ibig back in 2015, so Rekonek is of the same thread. The film’s premise heavily hinges on the world suddenly losing its internet connection and people trying to “reconnect” with one another on a more personal basis, set up through different vignette storylines which, while cute, feel a tad overwhelming. There are just too many storylines in here; you already can see that some would suffer in the end. For what it’s worth, the ending ties everything neatly—too neatly if we’re being honest—but overall, it’s a harmless feel-good vehicle, nothing particularly striking or groundbreaking, just like a comforting hug perfect for the holiday season. 𝟐.𝟓/𝟓 🎟️ 𝐒𝐇𝐀𝐊𝐄, 𝐑𝐀𝐓𝐓𝐋𝐄, 𝐀𝐍𝐃 𝐑𝐎𝐋𝐋: 𝐄𝐕𝐈𝐋 𝐎𝐑𝐈𝐆𝐈𝐍𝐒 (𝐒𝐡𝐮𝐠𝐨 𝐏𝐫𝐚𝐢𝐜𝐨, 𝐉𝐨𝐞𝐲 𝐝𝐞 𝐆𝐮𝐳𝐦𝐚𝐧, 𝐈𝐚𝐧 𝐋𝐨𝐫𝐞𝐧𝐨𝐬) 🎟️ It has been 11 years since the last Shake, Rattle, and Roll film participated at the MMFF, but the series officially has returned in 2023 (despite being rejected at that year’s lineup) with some strong entries in Mukbang and Rage. Unfortunately, this year’s batch of films feels weak despite the catch of trying to build a connection in all three episodes instead of being standalone ones. Episode 1 (1775) feels predictable with takes on sins that have been done already in previous editions, while Episode 3 (2050) is visually striking but feels a step down from a similar premise of last edition’s Rage. The saving grace of this year is Episode 2’s 2025, a comedic Halloween slasher done with equal parts comedy and equal parts horror. I feel like we’re due for a good, full slasher film again. 𝟏.𝟓/𝟓 🎟️ 𝐔𝐍𝐌𝐀𝐑𝐑𝐘 (𝐉𝐞𝐟𝐟𝐫𝐞𝐲 𝐉𝐞𝐭𝐮𝐫𝐢𝐚𝐧) 🎟️ Jeffrey Jeturian’s big-screen comeback 12 years after Ekstra should be a bigger deal, and Unmarry is a good enough vehicle to prove he still has it (alongside his MMFF Best Director victory this year). The film is an informative vehicle that tackles the specifics of the annulment process in the country, seen through the two differing stories of Celine and Ivan, who are in the process of applying for an annulment from their respective marriages. I admittedly am mixed on the use of its framing device to move from one part of the story to another, but then it is also rare to see the film medium being some sort of an educational process about something more Filipino couples should be familiar with. The film also boasts of a strong ensemble, but of course it is safe to say that this is the Angelica Panganiban show. What a comeback this film is for her. I hope this fuels Jeffrey Jeturian to continue creating more films on the big screen, as his is a familiar voice that never feels tiring. 𝟑.𝟓/𝟓 🏆 𝐌𝐲 𝐩𝐢𝐜𝐤𝐬 𝐭𝐡𝐢𝐬 𝐲𝐞𝐚𝐫: 🏆 Best Picture – Call Me Mother Best Director – Raymond Red, Manila’s Finest Best Actor – Vice Ganda, Call Me Mother Best Actress – Angelica Panganiban, Unmarry Best Supporting Actor – Will Ashley, Bar Boys: After School Best Supporting Actress – Gloria Diaz, Rekonek Screenplay – Jun Robles Lana, Daniel Saniana and Daisy Cayanan, Call Me Mother Cinematography – Raymond Red, Manila’s Finest Editing – Benjamin Tolentino, Call Me Mother Production Design – Digo Ricio, Manila’s Finest Score – Len Calvo, Unmarry Song – Bagong Simula (Rekonek) Sound – Roy Santos, Manila’s Finest Visual Effects – Shake, Rattle, and Roll: Evil Origins Ensemble – Bar Boys: After School 𝐓𝐡𝐞 𝐀𝐧𝐧𝐢𝐞 𝐁𝐚𝐭𝐮𝐧𝐠𝐛𝐚𝐤𝐚𝐥 𝐋𝐚𝐠𝐚𝐫𝐞 𝐀𝐰𝐚𝐫𝐝 𝐢𝐬 𝐠𝐢𝐯𝐞𝐧 𝐭𝐨 𝐭𝐡𝐞 𝐟𝐨𝐥𝐥𝐨𝐰𝐢𝐧𝐠 𝐚𝐜𝐭𝐨𝐫𝐬 (in alphabetical order): • Donna Cariaga (Rekonek, Unmarry, Bar Boys: After School) • Soliman Cruz (Call Me Mother, Rekonek, Manila’s Finest) You still have until January 7 to catch the 2025 MMFF movies. See you next Christmas! #MMFF2025 #MMFF51 #BarBoysAfterSchool #CallMeMother #imperfect #LoveYouSoBad #ManilasFinest #Rekonek #SRREvilOrigins #UnMarry
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✨ MOTHERING begins TODAY ✨
#CallMeMother is now showing in cinemas nationwide. 🫶
#ViceGanda #MMFF2025 #MMFF51
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GRABE! Sobrang saya ko!
Teh @vicegandako TAMA desisyon kong wag sumama sa shooting, wag magpakwento syo ng mga detalye at wag sumama syo na i-preview ang CMM sa den. Dahil sa mga desisyon na yun eh buong-buo kong na-absorb ang ganda ng pelikula! Congrats CMM Fam!
#CallMeMother
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✨”The purpose of life is to live it, to taste it, to experience to the utmost, to reach out eagerly and without fear for newer and richer experiences.”✨
— Eleanor Roosevelt
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