It’s telling that for most Filipinos—especially the younger generation—Manuel Luis Quezon exists not as a person but as currency. His…
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.
(This is the final installment of our four-part series on this year’s Cinemalaya full-length finalists. For the previous coverage, check…
(This is the third installment of my four-part series on this year’s Cinemalaya full-length finalists. For the previous coverage, check…
(This is a continuation of my ongoing series on this year’s Cinemalaya full-length finalists. For Part 1, click here.) If…
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…