FILM

MAKING
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HISTORY OF
FILMMAKING
 The illusion of films is based on the optical
phenomena known as persistence of vision and
the phi phenomenon. Together these
phenomena permit the succession of still frames
on a film strip to represent continuous
movement when projected at the proper speed
(traditionally 16 frames per second for silent
films and 24 frames/second for sound films).
Zoetrope
• Circular drum with slits.
• allows movements of darkness.
• creates the illusion of movement.
• 1834 by William Horner.
William Henry Fox Talbot Louis-Jacques-Mandé Daguerre
 Louis-Jacques-Mandé Daguerre

A painter perfected the positive photographic

process also known as the daguerreotype

William Henry Fox Talbot

successfully demonstrated a negative photographic

process that theoretically allowed unlimited positive
prints to be produced from each negative.
 The first publicly available
photographic process; was widely
used during the 1840s and 1850s.
"Daguerreotype" also refers to an
image created through this
process.
Daguerreotype
 PHOTOGRAPHY
Had to have photography
before motion pictures
• 1816 - Nicephore Niepce made the first photographic
images.
• 1839 - Louis Daguerre created clear, sharp images on
silver copperplate.
- Required 15 minutes exposure time.
• 1841 - Only 3 minutes are needed for exposure.
 A British American photographer was the first to
develop photographic sequences of moving objects.

In 1877, William Muybridge set up a battery of

12 cameras along a Sacramento racecourse with wires
stretched across the track to operate their shutters. When he
mounted these images on a rotating disk and projected them on a
Eadweard Muybridge
screen through a magic lantern, they produced a "moving picture"
of the horse at full gallop as it had actually occurred in life.
"moving picture" of the horse
Etienne-Jules Marey
The French physiologist Étienne-Jules Marey took
the first series photographs with a single
instrument in 1882; once again the impetus was
the analysis of motion too rapid for perception by
the human eye. Marey invented the
chronophotographic gun, a camera shaped like a
rifle that recorded 12 successive photographs per
second, in order to study the movement of birds in
flight. These images were imprinted on a rotating
glass plate (later, paper roll film), and Marey
subsequently attempted to project them. 
• 1884
• Developed celluloid film.
• Originally created for the still camera,
it made motion pictures possible.
• Flexible and allows light to pass
through.
George Eastman
Fred Ott’s Sneeze

• 1889
• William Dickson
(working for Thomas
Edison) begins using
celluloid film.
• The first film in America.
MOTION PICTURE CAMERA
A motion-picture camera, also called a Movie
Camera, is any of various complex
photographic cameras that are designed to
record a succession of images on a reel of film
 that is repositioned after each exposure.

A motion-picture camera essentially consists of MOTION PICTURE

CAMERA
a body, a film-transport system, lenses, a
shutter, and a viewing-focusing system. 
 • October 1889 Dickson shows Edison’s
projection with sound.
• Quality is poor.
• Edison opts for silent, individual showings of
films.
• Invents Kinetoscope.
• Kinetoscopes were set up in parlors.
• You would see dancing, juggling, clowning,
wonders of the world, and a few re-
KINETOSCOPE enactments.
• No stories yet.
 • Despite Edison’s shortsightedness in mass
projection, he did leave his mark on
motion pictures.
• He contributed sprocket holes on film.
• Black Maria.
- First movie studio.
THOMAS EDISON
• The camera could only move
forward and backward.
• The roof opened to allow sunlight in.
• Building rotated to catch the sun’s
rays.
• The camera used electricity.
 These are a few of the
contributions from
America. The history now
goes back to Europe.
 PROJECTION
The projection was a difficult problem to solve.
Its roots go back as far as 1646.
 • 1646
• Father Athanasius Kircher made
drawings of a box that could
reproduce an image through a
lens.
• The ancestor of the present-day
slide projector.
Magic Lantern
 18th Century
• Showmen travel across Europe
showing magic lantern shows.
• Used drawn images in the
beginning.
• Eventually used photographs.

Phantasmagoria
 19th Century
• Photo plays drew viewers to a story just as film does today.
• Combination of magic lantern shows, live actors, and photography.
• Some lasted up to 2 hours and told melodramatic stories.
• Proved the potential of projected film.
 Late 19 Century
th

• Discovered intermittent movement was needed

(similar to Zoetrope slits).
• Each frame stops briefly in front of the light source.
• Ended problem of the light source and tearing.
• Created problem of burning film.
• Invented cooling system (similar to today’s).
Lumiere Brothers
• 1894
• Tinker with Edison’s
Kinetoscope.
• Designed their own
machine within a year.

Auguste and Louis

Cinematographe
• Machine shot the pictures,
printed them, and projected
them.
• The camera was portable.
• A hand crank provided the
power.
 December 28, 1895
• First theater opens to the paying
public.
• Basement of a Paris café.
• Lumieres’ show:
• Workers leaving the Lumiere
Factory.
• Arrival at Lyon.
• A Baby’s Meal.
 TYPES OF
FILMMAKING
 TYPES OF
FILMMAKING A feature film is a film with a full-
length running time. According to the
Academy of Motion Picture Arts and
Sciences, American Film Institute, and
British Film Institute, a feature film
runs for 40 minutes or longer, while
the Screen Actors Guild states that it is
FEATURE FILMS
80 minutes or longer.
The majority of feature films are between 70 and 210
minutes long. The Story of the Kelly Gang was the first
feature film based on length and was released in Australia
in 1906. 

The first feature-length adaptation was Les Misérables

which was released in 1909. Feature films for children are
usually between 70 and 105 minutes. Other early feature
films include a version of Oliver Twist, Richard III, and
From the Manger to the Cross.
 Documentaries can be funny,
poignant, disturbing, ironic, absurd,
inspirational, amusing, shocking or
any combination.
DOCUMENTARIES
It is a genre of movie making that uses video & film scenes, photographs, and/or
sound of real people and real events which when edited together create a particular
story, viewpoint, message, or experience.

Traditionally, documentaries are 30-minutes to 2 hours in length (to fit within a

television schedule or for theatrical release). However, documentaries are often shorter
in length, especially in recent years with the advent of the Internet and web video. 
Animated Films are ones in which individual
drawings, paintings, or illustrations are
photographed frame by frame (stop-frame
cinematography). Usually, each frame differs
slightly from the one preceding it, giving the
illusion of movement when frames are projected
in rapid succession at 24 frames per second. The ANIMATION
earliest cinema animation was composed of frame-by-frame, hand-drawn
images. When combined with movement, the illustrator's two-dimensional
static art came alive and created pure and imaginative cinematic images -
animals and other inanimate objects could become evil villains or heroes.
 Animations are not a strictly-defined genre
category, but rather a film technique, although they
often contain genre-like elements. Animation, fairy
tales, and stop-motion films often appeal to
children, but it would marginalize animations to
view them only as "children's entertainment."
Animated films are often directed to, or appeal
ANIMATION most to children, but easily can be enjoyed by all.
See section on children's-family films.
Silent 
A silent film is a film that consists of only the picture, that is, it has no sound. The idea
of combining motion pictures with recorded sound is nearly as old as the motion
picture itself, but before the 1920s, most films were silent. The years before sound
came to the movies are known as the "silent era" among film scholars and historians.
The art of motion pictures grew into full maturity before the silents were replaced by
"talking pictures", and a number of film buffs believe the quality of the cinema actually
decreased for a few years before the new medium of sound was adapted to the movies.
Since the films could not take advantage of synchronized sound for dialogue, titles
were edited in to clarify the on-screen situation to the cinema audience or add critical
dialog.
TECH NIQUES
OF
FILM MAKING
 •Bird's-eye shot
- It’s a filming technique that shows a wide area of land from a
very high angle. The objects are viewed directly from above. This
shot is often used as an introductory shot to establish the setting
and point up the small size of the subjects.
• Long shot
With the help of this cinematography technique, the viewer can get a
more particular idea of the location of the scene. A long shot shows
the whole human body from head to toe. Compared to the bird’s-eye
shot, subjects stand closer to the camera.
The characters catch the attention of the viewer. But still, the audience
is not emotionally involved. This shot is used to describe the
surroundings of the scene. It should emphasize the moves and actions
of the characters rather than their exact emotions.
TECH NIQUES
OF
FILM MAKING
 •Medium shot
This is one of the most popular shots used in movies. It’s often used to
establish a new scene or location. A medium shot shows the characters
sharing some information, captures the dialogs of two or more people.

The medium shot is also common for interviews in documentary films.

The viewer can see the characters closely – from the knees up or waist
up. It’s possible to see their body language and facial expressions.

• Close-up shot
It’s a cinematic technique that features only the head of the character. The
close-up shot aims at demonstrating the actors’ emotions and makes the
audience engage with the characters and feel empathy for them.

This shot is also a basic tool for emphasizing significant details. It can be
used to show an actress touching a ring on her finger. Close-ups help the
viewers better understand the emotional state of the characters. The
setting becomes really insignificant here.
TECH NIQUES
OF
FILM MAKING
 •Extreme close-up shot
This is the shot framing a part of the character’s face, for
example, the actor’s eyes. It increases the drama and intensity of
the scene. The viewer is captivated by the actor’s emotions.
Extreme close-up works with objects too. It can show the hand
cutting a wire to prevent a bomb blast.

• Crane shot
It’s a type of shot when a camera is moving up or down by
more than a couple of feet in the scene. The filmmakers use
devices like cranes or jibs to put the cameras on. The thing is
that they are quite expensive though it’s possible to replace
them with drone cameras. Crane shots are supposed to add
more suspense to the scene, and they can usually be found at
the end of movies.
TECH NIQUES
OF
FILM MAKING
 • Tracking shot
This video shooting technique is used to follow a character or to explore the
surroundings. The camera is mounted on a dolly, which is a wheeled cart placed
on the rail track. The dolly is following the subject, otherwise, it would leave the
frame.

The viewer gets a dynamic visual effect while watching such scenes. The camera
can also be placed on a moving vehicle if the subject moves really fast.

• Panning shot
Panning means turning the camera horizontally from a fixed position.
It looks very professional when the camera moves smoothly and
accurately. The motion of the camera is imitating the motion of the
character’s head from left to right. Take advantage of this shot to
show the surroundings.
TECH NIQUES
OF
FILM MAKING
 •Tilt shot
Tilt is a cinematography technique when the camera is moving
vertically up and down from a fixed position within a scene. The shot
switches the attention of the viewer from one area to another or can be
used to slowly reveal something when the camera moves down. The
tilt shot is often used as an establishing or introductory shot.

• Dutch angle shot

In this shot, the camera is rotated so that the horizon isn’t
parallel to the bottom of the frame. The Dutch angle
demonstrates the emotional state of the characters which is
disorientation, uneasiness, and tension. Directors of horror
movies make good use of this cinematic technique.
TECH NIQUES
OF
FILM MAKING
 • Zoom shot
It’s a technique of changing the focal length of the camera lens. This creates an
illusion of the camera moving closer or farther to the objects. When you zoom
in, the objects become bigger in the frame. Zoom out, and the objects get
smaller. In both examples, the camera has a fixed position, and it’s not actually
moving anywhere. The zoom shot focuses on a character or an object of the
scene.

•Over-the-shoulder shot
This shot is taken from over the shoulder of one of the characters and
shows the audience the other one. The head and the shoulder of the
person in the foreground are out of focus when another person is in
focus.
Over-the-shoulder shot is one of the most important techniques in
filmmaking as it reveals the connection of the characters between each
other, the viewer can see their interaction. These shots are usually taken
when the characters have a conversation.
TECH NIQUES
OF
FILM MAKING
•Point-of-view shot
This is the film angle when the viewers see what’s going on in the
video through the character’s eyes. The audience sees the same as
the actor himself. It helps the viewers feel like they are part of the
story.

Point-of-view shot has become really popular with bloggers as

they shoot their videos using action cameras placed on their
heads, so the viewers can see what a blogger is going through.
TECH NIQUES
OF
FILM MAKING
The Advent of Film making
in the Philippines
The Advent of Film making in the Philippines
19th Century
• 1896
- A Spaniard by the name of Pertierra, prepared to launch his first movie
show in Manila at Christmas Time. The venue was to be at Salon de Pertierra,
which he established nine months earlier as the Phonograph Parlor on the ground
floor of the Casino Espanol at Calle Perez.

 1897
- The first film screenings in the Philippines took place on this day. The title of the films shown were
Un Homme Au Chapeau (Man with a Hat), Une scene de danse Japonaise (Scene from a Japanese
Dance) and
- 60mm Gaumont Chrono – a photograph projector at the Salon de Pertierra at No. 12 Escolta, Manila.
- In the same year, the Lumiere Cinematograph was first introduced in the Philippines by a Spanish
soldier named Antonio Ramos.
The Advent of Film making in the Philippines

Un Homme Au Chapeau Une scene de danse Japonaise 60mm Gaumont Chrono

(Man with a Hat), (Scene from a Japanese Dance)
The Advent of Film making in the Philippines
 1900
- In early 1900, the resurgence of movie houses began in Manila and the provinces that already had
electricity.

The Father of Philippine Cinema

 Jose Nepomuceno
- He opened a production company called Malayan Movies in 1917.
- He released the Dalagang Bukid (Country Maiden), it is the first Filipino
(silent) film produced in the Philippines, starring Atang de la Rama (1905-
1991), in 1919.
The Advent of Film making in the Philippines
 1900
- In early 1900, the resurgence of movie houses began in Manila and the provinces that already had
electricity.

The Father of Philippine Cinema

 Jose Nepomuceno
- He opened a production company called Malayan Movies in 1917.
- He released the Dalagang Bukid (Country Maiden), it is the first Filipino
(silent) film produced in the Philippines, starring Atang de la Rama (1905-
1991), in 1919.
The Advent of Film making in the Philippines
 1900
- In early 1900, the resurgence of movie houses began in Manila and the provinces that already had
electricity.

The Father of Philippine Cinema

 Jose Nepomuceno
- He opened a production company called Malayan Movies in 1917.
- He released the Dalagang Bukid (Country Maiden), it is the first Filipino
(silent) film produced in the Philippines, starring Atang de la Rama (1905-
1991), in 1919.
The Advent of Film making in the Philippines
 1930
- Film is recognized as another medium of art.
- Stories from the Philippines literature and popular theater were the main sources of storyline and
characterization.
 March 9, 1933
- Jose Nepomuceno made the Punyal na Guinto (Golden Dagger) which become the very first locally
made talkie (Film with sound).
 1940’s
- The local audience start to embrace the Philippines cinema’s focus on war and heroism during this
era.
 The Golden Episodes in Philippine Cinema (1950s)
- Regarded as the first golden age of Philippine cinema, major Philippine production studios produced a slew of
artistic and notable films in the 1950s, some of which have been internationally acclaimed.
The Advent of Film making in the Philippines
 The Golden Episodes in Philippine Cinema (the 1950s)
- Regarded as the first golden age of Philippine cinema, major Philippine production studios
produced a slew of artistic and notable films in the 1950s, some of which have been
internationally acclaimed.
- Manuel Conde’s Genghis Khan, released in 1950 was a rave at the Venice Film Festival in 1952;
and dubbed in French, it was shown in Paris in 1954. Inspired by Conde’s picture, Hollywood
remade Genghis Khan, with John Wayne as its lead actor. The people who had seen both pictures
adjudged that the latter was incomparable to the former in terms of authenticity.
- Undoubtedly, the 5th and the 6th decades were the Golden age of Philippine cinema with
subsequent films making a mark in the overseas scene: Kandelerong Pilak, Ifugao, Anak Dalita,
Badjao, Anak ng Dagat, to name just a few, swept awards at the Cambodian, Asia, and Berlin
Film Festivals.
The Advent of Film making in the Philippines
 The 1990s
- The independent film in the Philippines aroused and the 1990s saw the emerging popularity of
slasher movies, teen-oriented romantic comedies, as well as sexually explicit adult films, although
slapstick comedies still draw a large audience. Despite the promising new wave of independent
movies and filmmakers, local production companies resorted to producing hastily made, low-
quality, and formulaic films due to increasing production costs. Despite this predicament, the film
industry flourished and churned out about 200 films per year.
 The 2000s
- The rise of the digital age in filmmaking swiftly made its way into the local industry, making it
easier for independent filmmakers to produce films. Slowly but steadily, the local film industry
found its new footing in the digital age of filmmaking which paved the way for the proliferation of
critically acclaimed films that caught the eyes of prestigious film festivals both local and
international.
The Advent of Film making in the Philippines
 The 1960s
- Filmmaking through monopolized studio system saw its end during the 60s as the era gave way to
new and independent film production outfits. Along with this promising change came the
introduction of new and different film genres for the local audience to explore. Such genres
include Western, musical, action, and bomba (soft porn) films.
 The Second Golden Age of Philippine Cinema (1970-1980s)
- Local producers and filmmakers ceased to produce pictures in black and white. In 1972, the
Philippines was placed under martial law, and films were used as propaganda vehicles because of
the regime at that time.
- It was the so-called “Second Golden Age of Philippine Cinema”, because of the rise of a new
breed of avant-garde filmmakers who, at the time, were making films that presented the state of
the human, condition, and the ills of Filipino society.
- President Ferdinand Marcos sought to regulate filmmaking through the creation of the Board of
Censors for Motion Pictures (BCMP).
CHARACTERISTICS OF
FILM AND CINEMA
What are the characteristics of film and cinema in the Philippines?
- Most films made in the Philippines are in Tagalog.
- Sex and violence are major themes in films, which are often adaptations
of American screen productions. American films are popular and
readily available, so high-quality Filipino films have been slow to
develop.
What are the best characteristics of contemporary Filipino film?
- It is firm and bold, and it tells universal truth.
• The first film to be shown in the Philippines was shown in 1897. Over the years, Filipino
films have ranged from silent movies to talkies; black and white to color. Nationwide,
there are more than 1000 movie theaters. Early in the 1980s, it was estimated in Metro
Manila alone, there were around 2.5 million moviegoers.

• Award-winning and well-respected Filipino directors include Marilou Diaz-Abaya,

Laurice Guillen, Olivia Lamasan, Carlitos Siguion-Reyna, Ishmael Bernal, Joel
Lamangan, Jose Javier Reyes, and Lino Brocka (deceased). The Filipino film "100"
directed by Chris Martinez won the Audience Award at the 2008 Pusan International Film
Festival.
• There is a strong local film production industry in the Philippines. Although very long
(three hours) Marilou Abaya’ "Rizal", made in 1998 to coincide with the Centennial
celebrations of Philippines Independence is well worth watching. "Bayan Ko (My
country)" was made by Lino Brocka, arguably the most renowned and accomplished
Filipino film director. Many of the films are produced in the Filipino language and
concentrate on peculiarly Filipino film genres of comedy (such as the movies of Nora
Aunor or Yoyoy Villayame), stories of frustrated love, and action movies a-kindred to
"Kung Fu" movies.

• The first locally produced film is thought to be La Vida de Rizal, a story about José Rizal.
Rivals quickly produced a second film about Rizal, La Pasion Y Muerte de Dr. Rizal,
which opened the same day. Produced by foreigners, both films employed sarswela
troupes acting out the parts.
Famous
Film Directors
in The Philippines
Manuel Conde
• Manuel Conde (born Manuel Urbano) had initially used the
screen name Juan Urbano in the 1930s. He came from Daet,
Camarines Norte and released his first film entitled
Mahiwagang Biyolin in 1935. He was a prolific actor,
director, and producer, and was known for successfully
finishing films of epic scale in terms of production design
despite shoe-string budgets.
• He died in 1985 and was conferred the title of National Artist
for Cinema in 2009, among his other prestigious accolades.
• Notable works:
Genghis Khan (1950),
Ibong Adarna (1941), Ang Ibong Adarna (1955),
Juan Tamad film series (1947 to 1963),
Prinsipe Teñoso (1954), Siete Infantes de Lara
(1950, and remake in 1973), Molave (1961)
 • Gerardo de Leon, born as Gerardo Ilagan, was a medical doctor by
profession but his passion for film arts led him to his prolific career
as an actor and director. His first job was as a pianist at the Cine
Moderno in Quiapo, Manila, where he played musical scores for
silent films.
• During World War II, he was one of many directors who made
propaganda films commissioned by the occupying Japanese forces,
which led to his arrest for charges of treason after the war. When
evidence of his assistance to Filipino rebels came forth, he was
pardoned and eventually became one of the most successful
directors during Philippine cinema’s golden age.
• De Leon died in 1981 and immediately a year later was conferred as
National Artist for Cinema.
• Notable works: Noli Me Tangere (1961),
-El Filibusterismo (1962), Sisa (1951),
GERARDO DE LEON -Banaue: Stairway to the Sky (1975), Dyesebel (1953),
-Pedro Penduko (1954), and American-financed
-cult horror films in the 1960s like Terror is a Man
-(1959), Brides of Blood (1968), and
• Nicknamed as “The Boy Wonder of Philippine Movies”, Lamberto
Avellana was known to be the first Filipino director to use film
cameras to establish a point-of-view. He started his prolific career in
theatre with his future wife and National Artist Daisy Hontiveros-
Avellana. His first film Sakay (1939), showcased his unique
filmmaking style imitated by subsequent directors.

• In 1976, Avellana was conferred National Artist for Theatre and Film.
He died in 1991.

Notable works: Anak Dalita (1956), Badjao (1957),

Kandelerong Pilak (1954), Kundiman ng Lahi (1959),
A Portrait of the Artist as Filipino (1965),
and international films that had worldwide LAMBERTO AVELLANA
releases like Sergeant Hassan (1958),
Destination: Vietnam (1968), The Evil Within (1970)
 • commissioned by the Cultural Centre of the Philippines. Like
Gerardo de Leon, Romero also created American films in the ‘60s
and ‘70s, most memorable were “women in prison” films like
Black Mama, White Mama (1972) and Savage Sisters (1974), to
name a few.
• Eddie Romero started as a screenwriter before becoming one of
Philippine film industry’s most influential directors. Ambitious, yet
practical, Romero’s distinctive style is cited as simple and
minimalist yet carry enormous depth with precise execution.
• Romero was also known for his cult horror films in the ‘60s,
oftentimes showing in drive-in cinemas in the US. His “Blood
Island” film trilogy was co-produced by Hemisphere Pictures, but
Romero was quoted in an interview in his twilight years to having
EDDIE ROMERO hated doing those.
• Notable works:
Ganito Kami Noon… Paano
Kayo Ngayon? (1976), Banta ng Kahapon (1977),
Aguila (1980), Kamakalawa (1981), and the
television series Noli Me Tangere (1992)
• • Catalino “Lino” Ortiz Brocka was a director for film and broadcast arts
who was known for his social activism that was heavily reflected in
almost all of his films. His movies depicted the marginalized sectors of
society and he showcased his passionate efforts to fight for the rights of
workers in the theatre, film and television.
• His masterpieces garnered him local and international recognition.
• Following Avellana’s footsteps, his works have been showcased at the
• Cannes Film Festival. Considered by many film critics and foreign
filmmakers as the best Philippine film, Maynila Sa Mga Kuko Ng
Liwanag sheds light to a young provincial man’s awakening to the harsh
realities of the life in Metro Manila, which is drenched in poverty,
corruption, and prostitution. The film was under the cinematography of
Mike de Leon, another notable Filipino filmmaker. Insiang, another film
of Brocka depicting the poverty-stricken metropolis, was the first film
since Kandelerong Pilak to be shown at Cannes. Jaguar, another Cannes
entry, was nominated for the Palme d’Or and locally bagged the highest
awards in FAMAS and Urian.
• Brocka died in a fatal car accident in 1991 and was posthumously
LINO BROCKA
conferred National Artist for Film / Broadcast Arts in 1997.
 • Ishmael Bernal is known for his melodramatic depiction of feminist
and moral issues. His films ranged from sensible independent films to
mainstream box-office hits. He finished a
• Bachelor of Arts in English at the University of the Philippines and
worked with Lamberto Avellana in his documentary film studio. He
later studied French literature and philosophy in France and received a
diploma for film directing in India. When he returned to the
Philippines, at the time when the so-called “bomba” and action
movies were bankable projects in the industry, he changed the game
with his debut film, Pagdating Sa Dulo, which depicted the harsh
realities of the lives of celebrities and the film industry itself.
• In 1999, three of his films were shown at the Lincoln Centre in New
York in celebration of the 100 years of Philippine independence. His
ISHMAEL BERNAL masterpiece Himala was awarded in 2008 the Viewers Choice Award
for Best Asia-Pacific Film of all time by the CNN Asia Pacific Screen
Awards. Bernal died in 1996 and was conferred National Artist for
Cinema in 2001.
• Notable works: Himala (1982), City After Dark / Manila by Night
(1980), Pagdating sa Dulo (1971), Nunal sa Tubig(1976), Ikaw ay
Akin (1978), Hinugot sa Langit (1985), Working Girls I (1984) and
Working Girls II (1987), Broken Marriage(1983), Relasyon (1982)
• Although mostly known by today’s generation for his socially and
culturally relevant installation art masterpieces,
• Kidlat Tahimik is first and foremost considered as the “Father of
Philippine Independent Cinema”. Born as Eric Oteyza de Guia, Kidlat
Tahimik has written, starred in, and directed independent short and
full-length films since the ‘70s. Born and raised in Baguio, some of
his earliest films were critical of globalisation, urbanisation, and the
quintessential exploration of the Filipino identity.
• He has garnered various accolades locally and internationally,
including recent conferment of the title National Artist for Film in
2018.
• Notable works: Perfumed Nightmare
(1977), Turumba (1983), Why Is Yellow KIDLAT TAHIMIK
The Middle Of The Rainbow
(1989 and 1994), Balikbayan #1:
Memories Of Overdevelopment
(Redux III, 2015; Redux VI, 2017)
 • Multi-awarded film director Marilou Diaz-Abaya is just one of many
female directors that have left an indelible mark in Philippine cinema.
• She was also the founder and president of the Marilou Diaz-Abaya
Film Institute and Arts Centre in Antipolo and has taught some of the
best filmmakers of today’sgeneration. After graduating from the
London International Film School in 1978, Diaz-Abaya entered the
film industry as a feminist director. Distinctive of his films are themes
of women empowerment, the marginalised sector, and the oppressive
social system of the Marcos regime. Perhaps her most famous work,
after having earned almost all awards from the Metro Manila Film
Festival, was Jose Rizal which was a biographical film of one of the
country’s national heroes. It was a testament to her body of work that
comprises films being entertaining yet socially conscious and highly
artistic.
MARILOU DIAZ-ABAYA
• Diaz-Abaya died in 2012.
• Notable works: Brutal (1980), Moral
(1982), Karnal (1983), Milagros (1997),
Sa Pusod ng Dagat (1998), Jose Rizal (1998),
Muro-Ami (1999), Bagong Buwan (2001)
• Miguel Pamintuan de Leon,popularly known as Mike de Leon, started his
interest in filmmaking while pursuing Art History at the University of
Heidelberg in Germany. He served as producer and cinematographer for
Lino Brocka’s Maynila sa mga Kuko ng Liwanag, which gave him best
cinematography award from FAMAS. Today, that film is internationally
recognised and praised.
• His first major full-length work was Itim where he explored themes of guilt
and violence with such delicate balance of cinematic elements. He also made
romantic drama films like Kung Mangarap Ka’t Magising and Hindi
Nahahati ang Langit, which was based on a serial comics and eventually
remade for television. He was also known for his experimental filmmaking,
as seen in the musical Kakabakaba Ka Ba?.
• His best works are the critically acclaimed Kisapmata, Batch ’81, and Sister
Stella L, for delving primarily on taboo subjects at the time. The first two
were presented during the Directors’ Fortnight at the 1982 Cannes Film
MIKE DE LEON
Festival, and the third was entered to the 1985 Venice Film Festival. Like
Ishmael Bernal, two of his films were showcased as well at the Lincoln
Centre in New York for the same celebratory event.
Notable works: Batch ’81 (1982), Kisapmata (1981), Aliwan Paradise (1993), Itim (1976), Sister
Stella L (1984), Bayaning 3rd World (1999), Kakabakaba Ka Ba? (1980), Kung Mangarap Ka’t
Magising (1977), Hindi Nahahati ang Langit (1985)
 • Born Lavrente Indico Diaz, he is a filmmaker and former film critic whose career
began in the early ‘90s. His roster of films since the 2000s were praised by award-
giving bodies: Batang West Side (Singapore International Film Festival,
Independent Film Festival of Brussels, and Network for the Promotion of Asian
Cinema or NETPAC), Heremias (Fribourg International Film Festival), Kagadanan
sa Banwaan ning mga Engkanto (Venice International Film Festival, Toronto
International Film Festival), Melancholia (Venice International Film Festival),
Siglo ng Pagluluwal (Venice International Film Festival), and Florentina Hubaldo
(Jeonju International Film Festival, Images Festival). His films often tackle the
current social and political state of the Philippines, including his historical epics
written to be relevant to today’s struggles of the nation.

LAV DIAZ • His landmark film Norte was screened in the Un Certain Regard section of the
66th Cannes Film Festival. This brought his career head-to-head with another
internationally acclaimed Filipino director, Brilliante Mendoza, who had been
featured at Cannes a decade prior. However, Diaz’s filmmaking style was distinct
(and could even be easily recognised): black-and-white, with an establishing shot
of each scene taking almost more than a minute. With this, he is known as one of
the key members of the slow cinema movement, with some of his films marked as
having the longest-running time on record.
 • His most prestigious awards earned were the Silver Bear Alfred Bauer Prize for
Hele sa Hiwagang Hapis at the Berlinale and the Golden Lion at the Venice
International Film Festival for Ang Babaeng Humayo. He also received the Golden
Leopard at the 2014 Locarno International Film Festival for Mula sa Kung Ano
ang Noon.

• Notable works: Norte, Hangganan ng Kasaysayan (2013), Mula sa Kung Ano ang
Noon (2014), Hele sa Hiwagang Hapis (2016), Ang Babaeng Humayo (2016), Ang
Panahon ng Halimaw (2018)

LAV DIAZ
• The revival of the Philippine cinema’s presence at the Cannes Film
Festival may be credited to Brilliante Mendoza’s visceral and arresting
realist films. His style has influenced other independent filmmakers of
the 2000s, where most used handheld cameras while doing long
tracking shots.
• •In 2009, he won as best director at the Cannes Film Festival for his
psychological thriller film Kinatay. It was one of his many
collaborations with then-budding indie actor Coco Martin, who is now
one of the biggest names in show business. He has also worked with
premier French actress Isabelle Huppert in the film Captive, which was
inspired by true events that have happened in Mindanao during the
early 2000s. In 2016, one of the country’s veteran actresses Jaclyn Jose
received the best actress award in Cannes for Mendoza’s film Ma’
Rosa, which was critical of President Rodrigo Duterte’s war on illegal
drugs and the brute police force. Besides Cannes, his films are also
well received by other international award-giving bodies.
BRILLIANTE MENDOZA
• Mendoza calls his style “Found Filmmaking” where there are three
elements: the story based on experiences in real life, the actors’ “in-
the-moment” lines that come out naturally from the scene, and the
directorial choices that shed light on the community and the context
of the story.
• Notable works: Masahista (2005), Serbis (2008),
Kinatay (2009), Thy Womb (2012), Taklub (2015), Ma’
Rosa (2016), Mindanao (2019)

BRILLIANTE MENDOZA
 • She began working as a director with Kasal, a romantic film
tackling marriage and former love affairs. Similarly, her body of
work is known for poignant storytelling and powerhouse acting,
perhaps credited to Guillen’s early career in theatre and film as an
actress. However, her technical proficiency still stands out in her
filmography making it some of the most-watched films today.
• •Salome, her landmark film, was a critical success and earned her
the best director award in Urian. Furthermore, the film was shown
at the Toronto International Film Festival. Santa Santita was shown
LAURICE GUILLEN at the Bangkok International Film Festival and known to have

relaunched the career of then-child star Angelica Panganiban, now one of the leading actresses of her
generation.
• Guillen is the president of the Cinemalaya Foundation, Inc. which founded and oversees the
Cinemalaya Independent Film Festival. Just recently, she was included in the executive committee of
the Metro Manila Film Festival, the country’s longest local film festival.
 • Notable works: Kasal (1980), Kung Ako’y Iiwan Mo (1980),
Salome (1981), Tanging Yaman (2001), Santa Santita
(2004)Another female household name in the Philippine film
industry is Laurice Guillen, who started as an actress. A protégé of
Lino Brocka, she starred in major Filipino films like Tinimbang Ka
Ngunit Kulang (1974), Ina, Kapatid, Anak (1979), Moral (1982),
Nagalit ang Buwan sa Haba ng Gabi (1983) and Sister Stella L
(1984), to name a few.
LAURICE GUILLEN