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, 2023, 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.
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100+ Filipino movies are now available on @appleTV globally in 50+ countries. Watch from your phone, smart TV, computer or IPad at itunes.com/abscbn. Let us know what your faves are using #MYXMovies. Here are some of our faves now on Apple TV:
The Philippines is not a country that has made much of an international splash so far as movies are concerned. This is tragic as the country has a wealth of talent that has produced some exceptional movies.
Capino's first book, Dream Factories of A Former Colony: American Fantasies, Philippine Cinema (Minnesota, 2010) illuminates the decolonial imaginary of Filipino movies, focusing on work from the 1970s to the early 2000s. The book, a reconsideration of Philippine film history through the lens of postcolonial critique, won the prestigious cultural studies book prize from the Association of Asian American Studies in 2012.
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. 0852c4b9a8
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