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If you're not sure what I mean, I am talking about how sound will be added in post production so it sounds clearer. For example, generally in movie scenes where a character is walking away, has their back to the camera but is still talking, their voice will sound clearer than what it should naturally be, i.e. distant and muffled. This is due to post production and having that actor recite their lines in a studio. However, in Filipino movies they seem to use dubbed audio in unnecessary situations. In scenes where the characters speaking are close to and are facing the camera, the audio is still dubbed and, as a result, out of sync and unnatural.

Though most Filipino movies are shot on Red Epics and Arri Alexas, they don't look nearly as good and filmic as movies from other countries using the same cameras. Look at any upcoming "indie Filipino" movie and almost 9/10 times it looks weird and amateur compared to films from other countries.Too digital looking.

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The goal was to discover and exhibit compelling movies from Filipino filmmakers around the globe and bring them to the Filipino community. Then in 2021, they launched SDFFF as their centerpiece event.

Hi,

I'm just starting to learn Tagalog and really want to start getting used to the sound of it - can anyone recommend some good Filipino movies or TV shows I could watch online? I'll probably watch with English subtitles to start, but definitely want to start hearing what it sounds like spoken fluently.

The movies you would want to watch depend on whether you want to learn formal or colloquial Tagalog. If you are into the proper/formal Tagalog, I would suggest to watch old Tagalog movies directed by Lino Brocka or Peque Gallaga. If you want to learn colloquial Tagalog, you can watch TV series (for something light try I Love You Betty La Fea or the Filipino version of Coffee Prince) or you can watch the news as someone has suggested earlier or movies (I like those movies with John Lloyd in them lol).

I suggest you try watching Himala. Nora Aunor starred in that movie and it is recognized internationally so you can watch it with subtitles. It is an all-time great in filipino movies. You can easily find it online.

At least 90 views for eligibility. If you want to see a list of movies with less than 90 views and have received significant partial activity (viewed and reviewed several times), check out the Narrative, Feature-Length Filipino Movies Under 90 Views. If you want to see the history of Filipino movies that were part of the Top 250, check out The History of Filipino Films in the Top 250.

Maintainer's note: On the 26th of June, the website changed the way they compute the average ratings for all movies involved. This new algorithm is something I seriously disagree with due to how its weight prevents the exposure of films only distributed locally. It took me a while to realize it but I've decided to memorialize the final iteration of the list before the new algorithm change that affected the way the ratings are calculated per film. You can see a slightly deeper eulogy of this in the link above.

Despite this, there are more than a handful of local films that tell the love stories of people from different social classes. The movies are both old and new, showing that love in this kind of relationship has always existed and will likely always exist.

This morning, my wife and I were at the hospital for a doctor's appointment. We've been on the wait for almost an hour. What I don't like about this place is that there are so many people and the only way to kill time is the TV playing old (80's up to early 00's) Filipino movies. If your phone's battery is nearing its end, you have no other choice but to let yourself be entertained by the decades-old movies.

What is the similarity between a rainbow and the police? They both come after the storm. This is another thing that movies taught me. After all the commotion is over, the police, wearing black jackets will arrive. What sets them apart from the bad guys wearing leather jackets as well? They have a towel wrap on their forehead. Funny. This could be another reason why some people think that if you want justice to be served, you have to do it by yourself.

My first book, Dream Factories of a Former Colony: American Fantasies, Philippine Cinema (U of Minnesota Press, 2010) illuminates the decolonial imaginary and anticolonial thought of Filipino movies, beginning in the immediate post-WWII/post-independence era but focusing on work from the 1970s to the early 2000s. Apart from positing Philippine cinema as an assemblage of decolonizing afterimages of Hollywood and US empire in the Philippines, the book also demonstrates how that cinema levels some of the most incisive and imaginative critiques of American geopolitical power to be found in world cinema. An unprecedented reconsideration of Philippine film history through the lens of anticolonial critique and postcolonial theory, Dream Factories won the 2012 grand prize in the cultural studies category from the Association for Asian American Studies.

This movie follows a special operative and her team as they try to eradicate drug cartels in the area. If movies about drugs and actions are your cup of tea, you might want to consider checking this action thriller out.

Second, instead of just doing a reading of selected movies, Campos uses a wide range of available materials to acquire his data. Under this methodology fall his critical and thematic analyses of movies, personal interviews, observations, direct participation, film festival transcripts, and archived materials. One cannot dispute Caroline Hau's observation, found in the book's blurb, that this project is "broad-ranging and empirically grounded."

Third, Campos's focus moves away from previous conceptualizations of "national cinema" as a canon of films that was produced only within a specific geographical boundary (stories set in the Philippines, financed and directed by local producers and filmmakers) and critical of the state, specifically those that came out during the Marcos regime. In addition, this definition only seemed to describe movies done by mostly male auteurs such as Lino Brocka, Ishmael Bernal, Lamberto Avellana, Gerardo de Leon, and Mike de Leon, among others. Campos questions the efficacy of using a limited definition of national cinema by pointing out its colonial origins, in both form and content, and its transnational quality as exemplified by our participation in the global film movement through the network of film festivals, film critics and programmers, and cinephiles. ff782bc1db