GEPPC – Philippine Popular Culture

Philippine Cinema

Presented to Ms. Desiree D. Lampitoc

School of Arts, Sciences, and Education

DIVINE WORD COLLEGE OF LAOAG

ARZAGA, MANNY

AQUINO, ZACCHEUS
MARTINEZ, JAKE IAN A.
REYES, ADRIAN

AGTANG, MIKYLA
ANCHETA, KRISHELLE

BAGCAL, SHANE
DE LA CRUZ, MICHELLE B.

DEL ROSARIO, KRISTINE

MALLILLIN, ASHLY

PACIS, CARMELA
QUIROGA, ELEINE

RODRIGUEZ, PAULINE

March 2025
 Introduction
Films created a revolutionary change in the Filipino culture as it continues to shape and
inspire the next generation to understand the different walks of life through the eyes of
creatives. The cinematic masterpieces that had made its way to the silver screens would not
only just entertain through fiction but also touch the hearts of the communities that are being
represented in documentaries.
Our earliest films, were based on literature (for example, the 1919 “Dalagang Bukid,”
the first Filipino silent film, and the 1932 “Ang Aswang,” the first Filipino sound film). In fact,
for a long time, Filipino films were based on what we now call “graphic literature,” then known
as “komiks.” Some of the most memorable Filipino films were based on novels (for example,
Gerardo de Leon’s 1961 “Noli Me Tangere” and 1962 “El Filibusterismo” and Lino Brocka’s
1975 “Maynila: Sa Mga Kuko ng Liwanag”).
Filipinos are frequent movie watchers. On Netflix alone, Philippines ranked 4th on the
greatest number of content available (Stoll, 2021). Known as one of the heaviest media
consumers in the world, Statista Research Department (2021) reported that 96% of their
Filipino respondents accessed films in cinema, TV, internet, and other media in 2019.
The history of Philippine cinema has gone a long way and has its own share of ups and
downs. It can be traced back to 1897 in Escolta after the Spanish-American war, the advent of
the first Filipino produced and directed film, to the canned films brought by the Americans
during their occupation of the Philippines. The 1950’s and early 60’s were considered the
golden age of Philippine cinema due to the volume of films produced. The declaration of
Martial Law in the 70’s sparked the production of socially-relevant films (Bautista, n.d.). This
means that the movies produced reflected the society that was present during its release.

History and Evolution of Philippine Cinema

A. The Advent of Philippine Cinema

During the last decade of the 19th century, in 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, off the Escolta. But for some reasons still
unknown to this writing, Pertierra failed to make his presentation despite several published
announcements to this effect. The show kept being postponed until the New Year.
Finally, on January 1, 1897, the first four movies namely, Un Homme Au Chapeau
(Man with a Hat), Une scene de danse Japonaise (Scene from a Japanese Dance), Les Boxers
(The Boxers), and La Place de L’ Opera (The Place L’ Opera) were shown via 60mm Gaumont
Chrono-photograph projector at the Salon de Pertierra at no. 12 Escolta.
B. The Inception of Movie Houses
The man who opened the first hall exclusively for movie viewing that year was a British
named Walgrah who naturally called his establishment Cine Walgrah, located at No. 60 Calle
Santa Rosa in Intramuros. The second movie house was opened in 1902 by a Spanish
entrepreneur, Samuel Rebarber, who called his building, Gran Cinematografo Parisien, located
at No. 80, Calle Crespo, Quiapo. In 1903, Jose Jimenez, a stage backdrop painter, set up the
first Filipino-owned movie theater, the Cinematograpo Rizal. This was located on Azcarraga
street, in front of Tutuban Train Station.
C. Censorship and Taxes on Philippine Cinema
The government established the Board of Censors for cinematographic films in 1912,
It was in constant operation until it was superseded by the Board of Censorship for Moving
Pictures in 1929. This is now the Movie and Television Review and Classification Board
(MTRCB).
The government also imposed the first taxes on film in 1915, the same year income
taxes were imposed.
D. Father of Philippine Cinema
Jose Zialcita Nepomuceno (1893–1959) is considered the father of Philippine cinema.
"Dalagang Bukid" (Country Maiden), directed by José Nepomuceno, is recognized as the first
full-length Filipino-produced and directed feature film, premiered on September 12, 1919.
E. First Movie with Sound
Jose Nepomuceno’s film “Punyal na Guinto” (Golden Dagger), which premiered on
March 9, 1933, at the Lyric theater, was credited as the first completely sound movie to all-
talking picture.
F. First Color Film in the Philippines
During the 5th decade of the 20th century, Filipinos awesomely seen Hollywood’s first
full length picture in living Technicolor. Filipino local producers presented too, during this
period, their own full-length pictures in color and one of which was Prinsipe Amante (Prince
Amante). But inevitably, the color was imperfect due to technical deficiency. However,
Filipino technicians were quick to cope with the fast technical development, so that by the turn
of the 6th decade, they succeeded in presenting to the public some full-length pictures in living
Eastmancolor, one of which was Ito ang Pilipino, by J.E. Production. The lead actor was Mr.
Joseph Estrada himself. By the turn of the 7th decade, local producers and filmmakers ceased
to produce pictures in black and white.
G. The Golden Episodes in Philippine Cinema
In 1937, the first Filipino movie to achieve international plaudit was Zamboanga, a
picture starred in by Fernando Poe and Rosa del Rosario. Hollywood director Frank Capra
praised the film as the most exciting and beautiful picture of native life he had ever seen.
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.
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. Even at the annual Asian Film Festival with a dozen countries taking
turns in hosting the major filmfest (now the Asia-Pacific Film Festival with 18 countries), there
was a tacit acceptance that the Philippine cinema was, at the time, the undisputed leader in the
continents film scene.
In the 1950s, the FAMAS Awards, presented by the Filipino Academy of Movie Arts
and Sciences, was established in 1952 and is the oldest existing film industry award-giving
body in the Philippines.
The Four Big Productions:
1. LVN Pictures
- LVN was founded in 1938 by Narcisa de Leon, Carmen Villongco, and Eleuterio
Navoa Jr. The initials “LVN” were taken from the founders’ family names. Narcisa
or Doña Sisang was the company’s executive producer.
- It was also LVN produced the movie Ibong Adarna in 1941 and Badjao (1957).
2. Lebran International
- Lebran was established in 1949 by William Brandt, Manuel Valdes, Rafael Anton,
Rita Valdes Araneta, and Carmen Valdes Nieto. Lebran produced movies not just
for the Filipino audience but the Asian market.
- Lebran’s two of best-known films: His Darkest Hour (1950) and Kalbaryo ni Hesus
(1952).
3. Sampaguita Pictures
- Sampaguita Pictures was founded in 1937. Its first movie was Bituing Marikit,
starring Elsa Oria and Rogelio dela Rosa.
- In 1950, a fire destroyed the Sampaguita studio. The company produced the low-
budget movie Roberta, starring Tessie Agana, which became a success and was able
to bring back business in 1951.
4. Premiere Productions
- Premiere Productions was founded in 1946 in Caloocan under the leadership of Dr
Ciriaco Santiago, Adela Hermoso Santiago, Silvestre Punzalan, Ricardo Marcelino,
Jose P. Osorio, Ricardo Balatbat, and Generoso Santiago.
- The company produced films such as Sisa (1951) and Kalibre .45 (1957).
H. Highest Grossing Filipino Films
These are the highest grossing filipino films as of March 2025:
1. Hello, Love, Again (2024) – 1.6 billion as of February 2025
2. Rewind (2023) – 924 million as of December 2023
3. Hello, Love, Goodbye (2019) – 880 million
4. The Hows of Us (2018) – 810 million
5. Fantastica (2018) – 596 million
6. The Super Parental Guardians (2016) – 590 million
7. Starting Over Again (2014) – 579 million
8. Gandarrapiddo: The Revenger Squad (2017) – 571 million
9. A Second Chance (2015) – 556 million
10. Miracle in Cell No. 7 (2019) – 543 million
I. History of Philippine Cinema
The formative years of Philippine cinema, starting from the 1930s, were a time of
discovery of film as a new medium of expressing artworks. Scripts and characterizations in
films came from popular theater shows and Philippine literature.
In the 1940s, Philippine cinema brought the consciousness of reality in its film industry.
Nationalistic films became popular, and movie themes consisting primarily of war and heroism
and proved to be successful with Philippine audiences.
 The 1950s saw the first golden age of Philippine cinema, with the emergence of more
artistic and mature films, and significant improvement in cinematic techniques among
filmmakers. Award-winning filmmakers and actors were first introduced during this period.

By the 1960s, the artistry established in the previous years was in decline. This era can
be characterized by rampant commercialism in films.
The 1970s and 1980s were considered turbulent years for the Philippine film industry,
bringing both positive and negative changes. The films in this period dealt with more serious
topics following the Martial law era. In addition, action, western, drama, adult and comedy
films developed further in picture quality, sound and writing. The 1980s brought the arrival of
alternative or independent cinema in the Philippines.
The 1990s saw the emerging popularity of drama, teen-oriented romantic comedy,
adult, comedy and action films.

The 21st century saw the rebirth of independent filmmaking through the use of digital
technology and a number of films have once again earned nationwide recognition and prestige.

Movie Lines from Iconic Films

Film Title Line Actor/Actress Member

Himala (1982) “Walang himala! Ang Nora Aunor De La Cruz
himala ay nasa puso
ng tao, nasa puso
nating lahat! Tayo ang
gumagawa ng himala,
tayo ang gumagawa
ng mga sumpa at ng
mga Diyos.”
Isang Bala Ka Lang “Malapit-lapit ka na, Fernando Poe Jr. Reyes
(1983) congressman. Huwag
ka ng magpagandang
lalake. Isang bala ka
lang.”
Nagalit ang Buwan "Pwede bang Laurice Guillen Mallillin
sa Haba ng Gabi makausap ang asawa
(1983) mo, na asawa ko, na
asawa ng bayan?"
Kaya Kong Abutin “Ayoko ng Maricel Soriano Mallillin
ang Langit (1984) tinatapakan ako,
ayoko ng masikip,
ayoko ng mabaho,
ayoko ng walang
tubig, ayoko ng
walang pagkain,
ayoko ng putik!”
Bituing Walang “You’ll never make it. Cherie Gil Agtang
Ningning (1985) You’re nothing but a
 second-rate, trying
hard copycat!”
Minsan Lang Kita “May relasyon ba Maricel Soriano and Quiroga, Pacis
Iibigin (1993) kayo ng asawa ko?” Zsazsa Padilla
“Relasyon?”
“Relasyon. Querida,
Kabit, No. 2,
Mistress… relasyon.”
“Terry-“ “Wag mo
akong ma-Terry,
Terry. Iyong tanong
ko ang sagutin mo.
Are you f—ing my
husband?” “Minsan!”
Labs Kita… Okay “Oh yes, kaibigan mo Jolina Magdangal Bagcal
Ka Lang? (1998) ako. Kaibigan mo
lang ako… And I’m
so stupid to make the
biggest mistake of
falling in love with
my best friend.”
Bata, Bata…Paano “Akala mo lang Carlos Aquino Aquino
Ka Ginawa? (1998) wala… pero meron!
Meron! Meron!”
Petrang Kabayo “Habang namamatay Vice Ganda and Abby Aquino, Agtang
(2010) kayo sa gutom, Bautista
namamatay rin kayo
sa inggit.” “Una sa
lahat, hindi ako
inggitera kasi,
maganda ako.
Mahirap man kami,
maganda ako! Wala
man kaming pera,
maganda ako! Eh
ikaw? Maganda ka ba
po.”
Here Comes the “Apir, apir, apir! Angelica Panganiban Agtang
Bride (2010) Hindi na uso yan!
Wisik wisik na lang,
masdan mo ang
beauty ko! Tataas ang
kilay mo! Tse!”
Girl, Boy, Bakla, “So, this is Manila. Xyriel Manabat and Ancheta, De La
Tomboy (2013) Crowded, polluted Kiray Celis Cruz
area.” “Eh bakit ka
sa’kin nakatingin?”
The Gifted (2014) “People never change. Anne Curtis Martinez
Science tells us that
our genetic imprint
 predetermines your
fate, your character,
your choices.
Pinanganak kang
bobo, lalaki kang
bobo, mamamatay
kang bobo.”
FlordeLiza (2015) “Tinulak mo’ko” Rhed Bustamante and De La Cruz,
“Mapunta ka man sa Ashley Sarmiento Martinez
impyerno?” “Kayong
dalawa ng nanay mo
magsama sa
impyerno” “Okay
lang. Wala naman
‘yong demonyo sa
impyerno” “Eh
nasa’n?” “Andito,
naka pink!”
Beauty and the “’Te, diyan ka na pala. MC Calaquian and De La Cruz,
Bestie (2015) Kumain ka na ba?” Vice Ganda Martinez
“Hindi pa!” “Ba’t
galit ka?” “Hindi ako
galit!” “Ba’t
sumisigaw ka?”
“Masaya lang ako!”
“Ah, gano’n ba! Teka
lang! Ipaghahain lang
kita!” “Eh bakit ka
sumisigaw?”
“Masaya lang din
ako!”
The Super Parental “Break time!” Vice Ganda and Awra Martinez, Aquino
Guardians (2016) “Spaghetti” “Boys, Briguela
gusto niyo ng
spaghetti?” “Are you
competing with me?”
“Are you
threatened?” “Bring it
on!” “My spaghetti
has sauce made with
freshly-picked
tomatoes from the
high mountains of
Italy. What about
yours?” “My
spaghetti has banana
ketchup with
antioxidants,
antihistamine, anti-
inflammatory,
 antibiotic, with
glutathione and
silymarine extract,
with ginko biloba-e!
But wait, there’s
more.”
Wildflower (2017) “Don’t, don’t, don’t, Aiko Melendez Rodriguez
don’t… Don’t stop,
go on.”
Gandarrapido: The “Wala kang respeto!” Vice Ganda and Pia Martinez, De La
Revenger Squad “Wala talaga! Pak!” Wurtzbach Cruz
(2017) “Pak ganern” “Pak
pak ganern ganern.”
My Ex and Whys “Pangit ba ako? Liza Soberano Del Rosario
(2017) Pangit ba katawan ko?
Kapalit-palit ba ako?
Then Why?”
DOTGA: Da One “Wala ka bang Ryan Bang and Kim Martinez, De La
That Ghost Away nararamdaman” Chiu Cruz
(2018) “Meron” “Meron?”
“Oo, utong mo, ang
tigas. Ano ba? Kadiri,
bastos ka.”
D’Ninang (2020) “Lord, eto na naman Ai-ai delas Alas De La Cruz
ako. Syempre hihingi
na naman ako ng
tawad, kahit na alam
mo na, gusto ko
naman talagang
tumigil eh. Pero, ewan
ko ba. Tuwing
sinusubukan ko, ako
‘yong sinusubukan
eh. Lord, tao lang ako.
Marupok. Natutukso.
Oh ayan, tignan mo.
Jusko po.
Napakahirap talagang
tumanggi sa grasya.
Oh, ayan na. Ditas,
kunin mo na ako.
Sorry po, pero parang
inaakit nila ako. Kaya
sana bigyan niyo
naman ako ng sign.
‘Yong sign na uwian
na, tapos na. Kasi sa
totoo lang, napapagod
na rin ako. Pero ayan
na naman. Sabi niya,
 ‘Ditas, there’s more.
Ditas, kunin mo ako.’
Lord, patawad.
Patawad talaga.”
The Broken “Walang hiya ka” Sue Ramirez and Judi De La Cruz,
Marriage Vow “Walang hiyang galit Sta. Maria Martinez
(2022) na galit sa’yo. Mr. and
Mrs. Lucero, your
daughter is sleeping
with my husband.”

Analysis and Conclusion

Films do not only entertain, they also educate, especially in the context of Philippine
cinema. Movies in the Philippines have long been a medium for raising awareness about social
issues and offering commentary on current events. They reflect the complexities of Filipino
society, highlighting both its struggles and triumphs. For instance, in films like Heneral Luna,
which tells the story of the Filipino-American War, offers historical lessons, encouraging
reflection on national identity, pride, and sacrifice. These films educate not just through their
plot but also through their portrayal of local issues, leading the audience to reflect on their own
lives and society.
The evolution of film technology has also led to significant changes in the way stories
are told in Philippine cinema, particularly in terms of visual effects (VFX) and editing. In recent
years, the integration of VFX has enhanced the visual storytelling in films, allowing filmmakers
to craft more immersive and imaginative worlds. Although VFX in Filipino films may still be
catching up with Hollywood standards, it has made notable strides in creating visually striking
narratives that captivate audiences. Filipino filmmakers are increasingly using VFX to bring
fantastical elements to life, allowing them to experiment with complex visuals in genres such
as fantasy, action, and science fiction. These advances in VFX help elevate stories, making
them feel larger-than-life, while giving filmmakers more creative freedom in shaping the world
of the film. For instance, Encantadia (2005) was one of the earlier TV shows to introduce
groundbreaking VFX in the Philippines. Despite the limitations in technology at the time, the
series successfully blended special effects with its fantasy world, introducing mystical
landscapes, magical creatures, and epic battles that kept viewers engaged. In 2016, the series
was rebooted, and the technological improvements in VFX were immediately noticeable. The
2016 version of Encantadia took full advantage of the latest advancements in digital effects,
creating a more vibrant and dynamic world where the fantastical elements felt more alive and
integrated with the story. The improved VFX allowed for smoother transitions between the real
world and the imagined realms, enhancing the overall cinematic experience.

The use of language is another distinctive feature of modern Philippine cinema,

reflecting the diverse culture and social dynamics of the country. In the movies of Vice Ganda,
language becomes a key tool for connecting with audiences, as the dialogues often mix local
dialects and street slangs to create a more authentic and relatable experience. Vice Ganda,
known for his comedic style and larger-than-life persona, frequently uses language to engage
with his viewers, particularly through the use of gay lingo or Swardspeak, a unique form of
Filipino slang developed within the LGBTQ+ community. This form of language is a blend of
Tagalog, English, Spanish, and other local dialects, often characterized by playful wordplay
and humor, which makes it both entertaining and inclusive for various segments of society. For
example, in Praybeyt Benjamin, Vice Ganda’s character uses gay lingo in many of his
interactions, creating humor that resonates with the audience while also reflecting the
character’s unique background and worldview. The playful, often satirical way he uses
language challenges traditional norms and speaks directly to the LGBTQ+ community, making
them feel seen and represented. In Sisterakas, Vice’s character continues this trend, using both
gay lingo and everyday Filipino expressions to highlight the quirky and exaggerated
personalities of the characters, adding layers of humor and cultural commentary. This use of
language in Vice Ganda's films reflects the dynamic and evolving nature of Filipino cinema,
where language is not just a tool for storytelling but also a means of cultural expression,
providing a voice to groups that have historically been underrepresented.
Today, movie directors tend to cast individuals who have recently gained popularity,
often tapping into the growing influence of social media stars or actors with a large online
following. This trend is evident in films like Gandarrapido: The Revenger Squad which casted
Pia Wurtzbach and Partners in Crime which casted Ivana Alawi, where new or lesser-known
actors are given prominent roles based on their popularity on social platforms. The move
towards casting social media influencers or rising stars reflects the changing nature of celebrity
culture in the Philippines, where an actor's fan base and social media presence are just as
important as their acting chops. This shift also allows for a fresh take on traditional roles, as
these actors bring a new energy and relatability to their performances. It also speaks to the
evolving demands of the audience, who increasingly seek out familiar faces from their daily
lives, whether through television or social media, and want to see them in cinema as well.

Trends, too, play a significant role in shaping the kinds of movies that are made. For
example, the popularization of the phrase "Pak Ganern" in 2017 became a cultural
phenomenon, even making its way into the movie Gandarrapiddo: The Revenger Squad. Such
catchphrases or viral trends often influence how characters are written or how scenes are
constructed. This trend-based storytelling allows Filipino films to resonate more deeply with
audiences, as they incorporate elements of popular culture that viewers can relate to. In
Gandarrapiddo: The Revenger Squad, for instance, the incorporation of viral memes and
catchphrases helped the film connect with younger viewers, blending humor and relatability in
a way that spoke directly to the audience.
Lastly, Philippine cinema often takes inspiration from both local and international
films, blending elements from both to create something uniquely Filipino. This trend is
reflected in the films Gandarrapido: The Revenger Squad, which borrowed the famous line of
Carlos Aquino: “Akala mo lang wala. Pero meron! Meron! Meron!”; The Broken Marriage
Vow (2022) which is based on the British drama series Doctor Foster; and Momshies! Ang
Soul Mo'y Akin! (2021) that is based on Woke Up Like This (2017). V
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Cruz, I. (2012, July 5). Literature into film. https://www.philstar.com/other-sections/education-
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