#1 OPEN ENDINGS
Highly Recommended. ⭐️⭐️⭐️⭐️ 4 out of 5.
The premise of the movie is intriguing — four queer millennials who are exes with each other but have become the best of friends. What happens next? It was a bit tricky to track who’s who at first, but once Hannah announced her engagement, emotions began to unravel, and the audience instantly turned into maritesses, eager to see what would happen next.
Some viewers criticized the film for not delving deeply into lesbian issues and instead offering a more glamorous portrayal of queer women. But for first-timers like us, just getting introduced to these kinds of relationships, it was refreshing — light, entertaining, and elevated by a perfect soundtrack. We loved every song throughout.
My wife loved it, though I found myself holding on to her — hoping she doesn’t get any ideas like the married woman in the movie! Jasmine Curtis-Smith was a standout; we had only known her as Anne’s sister, but her beauty and emotional depth truly commanded the screen. She portrayed so well the struggle of being torn between a heterosexual relationship and the lingering pull of a former same-sex love.
I also really liked Janella Salvador’s performance as Charlie — she was radiant and magnetic throughout the film. The story closed with palpable tension between Charlie and Kit (Klea Pineda) and an open ending for Hannah and Mihan. When the theater lights came on, it felt surreal to see Janella and Klea together in real life — Open Endings suddenly felt like the perfect origin story for their relationship.
ABOUT OPEN ENDINGS
Directed by Nigel Santos | Screenplay by Keavy Eunice Vicente
Drama / Romance / LGBTQIA+ | 110 mins | Cinemalaya 2025
Logline:
Four queer women in their 30s—exes turned best friends—navigate adulthood, love, and chosen family as they face grief, change, and lingering feelings.
Synopsis (Concise):
Hannah, Charlie, Kit, and Mihan share a complicated past of first loves, heartbreaks, and enduring friendship. When Hannah faces deep loss, the others rally around her, reaffirming their bond. But as life shifts, she’s forced to make a decision that could alter their dynamic forever. Open Endings is a tender, funny, and heartfelt story about the strength of friendship and love that endures beyond romance.
Key Cast: Janella Salvador, Klea Pineda, Leanne Mamonong, Jasmine Curtis-Smith
Director: Nigel Santos | Screenwriter: Keavy Eunice Vicente | Producer: Tin Velasco
Cinematographer: Martika Ramirez Escobar | Editor: Maria Estela Paiso | Music: April Hernandez
About the Filmmakers:
Nigel Santos – UST Literature graduate and award-winning filmmaker (Dalaginding Na Si Isang, Yours Truly, Shirley). Open Endings is her second full-length and first Cinemalaya feature, continuing her focus on women’s stories and inner lives.
Keavy Eunice Vicente – Screenwriter of Distance (Cinemalaya 2018), Unforgettable (2019), and Pearl Next Door(2020). Open Endings is her third full-length film and second Cinemalaya entry.
#2 REPUBLIKA NG PIPOLIPINAS
Recommended. ⭐️⭐️⭐️ 3 out of 5
Pipol + Pilipinas = Pipolipinas — a mockumentary of our political sarswela where people renounce their Filipino citizenship to create a micro nation. I love the resilience of Cora Vitug, who fights against the government’s attempt to kick her out of her ancestral land and turn it into a dumpsite for Korean trash. Of course, the star power of Alex (Alessandra de Rossi) adds an interesting twist to the drama of micro-nation politics — she’s absolutely delightful to watch.
There were a few slow moments at the start, as the movie began with the origin story of how Pipolipinas came to be — with her alone, and no one wanting to join. But the momentum picked up once people started joining her micro nation and forming their own government. It effectively depicted how our corrupt government gets away with their sins — always designating a fall guy who ends up in jail, while the politician still waves triumphantly to the crowd. Nakakagalit!
In the end, I loved the movie’s final song — it should be the anthem of a Trillion March Protest or the coming bloody revolution in Manila. History feels like it’s repeating itself, with Martial Law times happening all over again because of these super corrupt, devilish politicians in power. I guess a micro nation isn’t the solution — what we need is a bloody cleansing of our rotten political dynasties.
ABOUT REPUBLIKA NG PIPOLIPINAS (REPUBLIC OF PIPOLIPINAS)
Directed by Renei Dimla | Mockumentary | 105 mins | Full-Length Category
Logline:
When the government threatens to seize her land, a farmer renounces her citizenship and builds her own micronation.
Synopsis (Concise):
Cora Vitug, a farmer fighting eviction from her land, declares independence by founding her own nation—Republika ng Pipolipinas. Her protest divides her community and draws public scrutiny, but as she exposes corruption behind government projects, she and her followers show that a nation’s true strength lies in the courage of its people.
Key Cast: Geraldine Villamil, Alessandra de Rossi, Kakki Teodoro, Natalie Maligalig
Director/Screenwriter: Renei Dimla | Cinematographer: Pabelle Manikan | Editor: Cha Escala | Music: Gian Gianan
About the Filmmaker:
Renei Dimla is a Palanca Award–winning writer and filmmaker with over a decade of experience in film and TV. A graduate of Jun Lana’s and Bing Lao’s writing programs, she previously won the Gawad CCP for Anomi. Republika ng Pipolipinas marks her feature directorial debut.
#3 PADAMLAGAN (NIGHT LIGHT)
Recommended for those with Bicol roots. ⭐️⭐️⭐️ 3 out of 5
I watched it because of Ely Buendia and because my mom was from Bato, Catanduanes — and I was pleasantly surprised that I understood most of the Bicolano spoken in the movie, along with its peculiar accent. The Bicol conversations carried much heavier meaning than their English translations, making this somber film deeply affecting — especially in how it captured the emotions of the parents whose children died in the Colgate Bridge tragedy.
As a dad of four boys, I can’t imagine what I would feel if my son went missing after such an accident. After searching the entire town — from hospitals to the morgue to ground zero — and still not finding your child, the despair would be unbearable. Ely Buendia’s stoic performance as the father was convincing and quietly powerful. Throughout the movie, you can’t help but wonder what really happened to his son.
The film serves as a tribute to those who lost their lives in the tragedy and to those who remain missing. It focused more on the accident and the survivors, but did not delve into the devotion to the Peñafrancia fiesta, the reason behind the fluvial parade, or provide background about Naga and its local culture. We often have a tendency to move on and forget such events as life returns to normal, but this movie serves as a poignant reminder of the pain and resilience of those left behind. I love how it captured the raw emotions of that time — through survivor interviews and haunting photographs from the tragedy.
ABOUT PADAMLÁGAN (NIGHT LIGHT)
Directed by Jenn Romano | Period Drama | 90 mins | Full-Length Category
Logline:
Five days before Martial Law, the Colgante Bridge in Naga collapses, pushing a father into a desperate search for his missing son.
Synopsis (Concise):
Set in 1972 Naga, Padamlágan follows Doring, a devoted voyador, whose son Ivan returns home amid growing political unrest. When the Colgante Bridge collapses during the Peñafrancia fluvial procession, Ivan goes missing. As Doring searches through chaos, bureaucracy, and silence, his personal loss mirrors a nation on the brink of Martial Law—where grief, truth, and memory are buried but never forgotten.
Key Cast: Ely Buendia, Esteban Mara, Sue Prado, Floyd Tena
Director/Screenwriter: Jenn Romano | Cinematographer: Steven Paul Evangelio | Editor: Fea Fortuna | Music: Khryss Arañas
About the Filmmaker:
Jenn Romano is a Bikol filmmaker from Canaman, Camarines Sur, whose short films have screened internationally. A faculty member at Ateneo de Naga University, she is completing her MA in Media Studies (Film) at UP Diliman. Padamlágan is her debut full-length feature.
FINAL THOUGHTS
Open Endings is definitely the standout Cinemalaya 2025 indie hit, while Republika ng Pipolipinas offers a sharp self-reflection on how we got here as a country. It’s somber watching Ely in Padamlagan, and some might find it slow or heavy if they don’t have a personal connection to the place or the tragedy.
I’m starting to get addicted to watching indie films — they explore genres and stories that may never achieve commercial success but are rich in meaning, creativity, and purpose. Cinemalaya is truly inspiring, and one day, I hope to become a filmmaker myself — to tell the insider food and travel stories of the Philippines and our awesome planet, together with our four boys.
Live an Awesome Life with Christ,
Founder & Digital Creator, Our Awesome Planet
Disclosure: This article was written entirely by a human—reflecting my own biases, opinions, and insights—with grammar and clarity checked using AI assistance. Thank you to Cultural Center of the Philippines and Cinemalaya Independent Film Festival 2025.
Cinemalaya 21: Layag sa Alon, Hangin, at Unos
Navigating the evolving tides of Philippine cinema | October 3–12, 2025
The 21st Cinemalaya Philippine Independent Film Festival sets sail once again with the theme “Layag sa Alon, Hangin, at Unos,” celebrating the resilience and creativity of Filipino filmmakers amid changing times.
This year’s festival features 10 full-length and 10 short films competing for the Balanghai Trophy, showcasing diverse stories that push the boundaries of independent cinema.
Full-Length Finalists:
Bloom Where You Are Planted, Child No. 82, Cinemartyrs, Habang Nilalamon ng Hydra ang Kasaysayan, Padamlágan, Paglilitis, Open Endings, Republika ng Pipolipinas, Raging, and Warla.
Short Film Finalists:
Ascension from the Office Cubicle, Figat, Hasang, I’m Best Left Inside My Head, Kay Basta Angkarabo Yay Bagay Ibat Ha Langit, Kung Tugnaw ang Kaidalman Sang Lawod, Please Keep This Copy, Radikals, The Next 24 Hours, and Water Sports.
Screenings will be held across multiple venues, including Red Carpet Cinemas by Shangri-La Plaza (new partner), Ayala Malls Cinemas, and Gateway Cineplex.
Running alongside is the 37th Gawad CCP Para sa Alternatibong Pelikula at Video, Southeast Asia’s longest-running independent film competition, with categories in Short Feature, Experimental, Documentary, and Animation.
Now in its 21st year, Cinemalaya continues its mission to discover and support bold, truthful Filipino storytelling, having showcased over 1,000 independent works since its founding in 2005.
More information: www.culturalcenter.gov.ph | www.cinemalaya.org