(This is a continuation of my ongoing series on this year’s Cinemalaya full-length finalists. For Part 1, click here.) If…
Author: Paul Emmanuel Enicola
Paul Emmanuel Enicola
Paul is a Tomatometer-approved film critic inspired by the biting sarcasm of Pauline Kael and levelheaded worldview of Roger Ebert. Nevertheless, his approach underscores a love for film criticism that got its jumpstart from reading Peter Travers and Richard Roeper’s accessible, reader-friendly reviews. As SEO Manager/Assistant Editor for the site, he also serves as a member of the International Federation of Film Critics (FIPRESCI) and the Society of Filipino Film Reviewers.
Every Cinemalaya year seems to arrive with its own pulse, a mood that quietly defines the lineup. If last year’s…
Tetsuya Mariko’s “Dear Stranger” is the sort of film that keeps slipping through your fingers just when you think you’ve…
Watching “Irkalla: Gilgamesh’s Dream” is the kind of experience that leaves you sitting with a knot in your stomach long…
Darlene Naponse’s latest film “Aki” opens with a quiet confidence that feels almost radical. No narration, no on-screen text telling…
I’ve always been a sucker for stories about misfit teenagers, the kind who see the world pressing down on them…
“In the Mood for Love” in the Shadows of Postwar Saigon. It’s a title I offer with full awareness of…
We don’t talk enough about the women who spend their lives holding families together from afar—working in strangers’ homes, raising…
“Show me the money!” It’s funny—that line has been memed, parodied, stitched into pop culture so tightly that it’s easy…
Nostalgia is a funny thing. It can be comforting, like an old cassette tape that still plays despite the hiss…