100 greatest Filipino movies

In the Preface to the book “100 Sine Film Pelikula: the 100+ Greatest Movies of Philippine Cinema” (Summit Books, 2026), the author Jo-Ann Q. Maglipon,who collaborated with film scholar Joel David, writes: “There is in action movies a kind of purity. This is good; that is bad… There is comeuppance. There is retribution. There is justice. It is redemptive.”

I really enjoyed this book because it is a welcome change from all the chaos happening around us today. The book is more than just a coffee table book collection of movie reviews. It is an ambitious attempt to define, preserve and celebrate the cultural memory of Philippine cinema. The book gathers the reviews and photographs of more than 100 films released between 1937 and 2020. It also reflects the artistic, political and emotional history of the Filipino people. It also serves as both an introduction and a tribute to the country’s filmmaking tradition.

Rather than focusing only on the critically acclaimed and award-winning films, Maglipon includes a wide range of genres and style. It includes masterpieces such as “Maynila Sa Kuko ng Liwanag,” “Manila By Night” and “Himala.” However, it also includes commercial blockbusters, romantic drama and action films and even comedies. The book avoids elitism and acknowledges that popular films also shape national identity and collective memory. 

In her Preface, Maglipon also writes: “This I find most manifest in the 1980 film I consider my personal favorite to this day, ‘Manila By Night,’ helmed by Ishmael Bernal, co-written by Ricardo Lee… I see ‘Manila By Night (City After Dark)’ as one of the most intelligent and artistic films ever written about what’s wrong with our capital city and it has my whole being, not my mind alone, convulsing.”

Every entry in the book contains a synopsis and critical commentary that explains why a particular film deserves inclusion. The writing style is clear and engaging, avoiding overly technical academic language. Readers who may not have any formal training in film studies can still appreciate the analyses because Maglipon writes with warmth and enthusiasm, rather than detached intellectualism. At the same time, the commentaries remain thoughtful and insightful, discussing things such as poverty, colonialism, family, love, corruption and social inequality. Through the discussions in the book, the reader begins to see how Filipino films mirror the struggles and aspirations of the nation itself. 

One feature of the book is its historical value. The selected films trace the evolution of Philippine cinema across several decades. Early black and white productions reveal the influence of theater and Hollywood melodrama, while the later films reflect periods of political unrest, dictatorship, modernization and globalization.

The inclusion of independent films demonstrates how newer filmmakers challenge traditional studio systems and experimented with storytelling techniques. 

Visually, the book is very impressive. The photographs, posters and layouts create the feeling of walking through a museum of Philippine cinema. The designs allow readers to appreciate not only the stories behind the films but also their visual artistry. The book functions as both criticism and preservation.

Many classic Filipino films risk being forgotten due to poor archival systems and limited accessibility.

Hopefully, even readers unfamiliar with the older Filipino movies may become curious enough to search and watch them after browsing the book.

Another admirable aspect of the book is its patriotic spirit. The book is rooted in the respect for Filipino creativity and storytelling. The selected films reveal the richness of local narratives and demonstrate that Philippine cinema can stand alongside world cinema in artistic value. Filipino filmmakers have long explored universal themes through uniquely Filipino experiences such as urban poverty, migration, romance or political violence. 

My only criticism of the book is that I wish some of the particularly influential movies had longer discussions. Perhaps other readers may also disagree with some of the selections or with some movies that were excluded.

Another problem with the book is that some of the more important but early films may remain difficult to find or restore. In fact, younger readers may become frustrated when searching for copies of older classics.

Hopefully, the book succeeds in raising awareness about the need to preserve and restore Philippine cinematic heritage. 

The book reminds me of my own personal journey through Philippine cinema. In my high school days, I remember watching the Lo’ Waist Gang movie series. Then, starting in my college days, I totally stopped watching Filipino films. I only returned to Filipino movies when I watched my first Lino Brocka movie, “Tinimbang Ka Ngunit Kulang.” From then on, I selected Filipino movies to watch based on the directors, rather than the featured movie stars. I became almost addicted to the movies of Eddie Romero (“Ganito Kami Noon, Paano Kayo Ngayon?”), Mike de Leon (“Sister Stella L”), Ishmael Bernal (“Himala”), Peque Gallaga (“Oro, Plata, Mata”) and of course, my favorite director Lino Brocka (“Insiang”).

The great Filipino films do not merely entertain but reflect the soul of the Filipino people.