Cinemalaya is just about ready to wrap up and has had quite a successful run. Its 10 feature-length films and 10 short films each had their time to shine throughout the week in participating venues (Shangri-la Plaza, Gateway Mall, and select Ayala Malls). Here’s a quick recap on how we felt about each full-length movie, in order of our watching, and why you should consider checking them out.

We started our Cinemalaya full-length run with Jenn Romano’s “Padamlágan (Night Light).” Primarily, a chunk of this film felt like watching Ely Buendia stare off into the distance. It’s Ely’s first time acting, and you can somewhat sense it throughout. There are moments where the sense of urgency in the situation isn’t as strongly felt as it should be. For the quiet moments, though, his distraught look makes us feel the sorrows of a father in the grieving process. We are hopeful this experience won’t discourage him from trying acting again. Aside from the acting, the framing of shots is well done. One crowd shot remains ingrained in our memories as one of the best shots in the film. What makes this pick an important watch is the subject matter: The collapse of the Colgante Bridge in 1972. Parts of the film contain snippets of interviews recounting the disastrous event. These are the stories we must learn to never forget, in fear of repeating the same mistakes.

Despite the title, Ryan Machado’s “Raging” isn’t exactly a rage-fest where your emotions will be constantly put to the test. Instead, it’s a slow burn, and the rage is a quiet buildup. This is a movie where you have to pay attention at all times to not miss a beat. Constantly, you might find yourself questioning a lot of what’s happening, why the characters act a certain way, but it all makes sense by the end of it if you managed to keep track of things. Take the slowness of the film to appreciate the grand shots of Sibuyan, Romblon. There are stunning background shots throughout the film, and we can see how each sequence was clearly planned out.

Personally, a mockumentary set in the Philippines has always been an intriguing idea. Some of the most popular Western sitcoms, after all, are done in such a style (“The Office,” “Modern Family,” and “Abbott Elementary,” to name a few). Renei Dimla did a remarkable job in capturing this charm in a local setting. At times, you might even forget it’s a mockumentary due to the legitimacy of some parts in the film. Alessandra de Rossi stole the show by playing a hyperfictionalized version of herself. She played the role so well that even in the talkback session, it had us thinking we were in the presence of the president of Isla de Rossi. It’s a lighthearted comedy that will leave you laughing and informed about micronations, foreign nations dumping trash in our country, and social injustices farmers face.

This was a heavy watch, but a necessary one for viewers to understand the harrowing effects of sexual abuse in the workplace. Cheska Marfori’s “Paglilitis (A Trial)” isn’t afraid to show us the ugliness that comes with trying to file an almost impossible case. It’s a powerful performance by the entire cast, as their performances are enough to trigger rage and sorrow. We are made to feel exactly what pains the main character has to endure as she seeks out justice. There are scenes where some characters talk directly to the screen, causing a chilling effect, almost as if they were laying out the signs of abuse for viewers to look out for.

Kevin Alambra’s “Warla” is a fine balance of fun, wacky hijinks, and a serious look into the hardships most trans women face. It felt like watching a Filipinized version of FX’s “Pose.” All the actresses do a remarkable job of making us feel the wholesomeness and messiness of their found family dynamic. Perhaps our only complaint is that we want more time to see what other shenanigans these women can get up t. But even with the time we have, we learn enough about them to keep us attached to their stories. “Warla” is a fun watch, and this film helps paint a picture of the highs and lows trans people feel.

Tim Rone Villanueva’s “Child No. 82 Anak ni Boy Kana (Son of Boy Kana)” is a heartfelt tribute to 1980s to early 2000s Filipino cinema. There’s an endearing charm that resonates right away with viewers, who were likely exposed to these very same films growing up. We’d also like to shower some praise on the animators of a brief eight-bit animated sequence that really added to the charm of this flick. Setting aside the nostalgia factor, JM Ibarra has a certain aloofness in this film that adds to the humor. But when its time to lean toward the more dramatic scenes, we can feel the anguish and anxiety his character goes through.

Liberal sapiosexual cinephiles are bound to have a field day with this film. Dustin Celestino’s "Habang Nilalamon ng Hydra ang Kasaysayan (As the Hydra Devours History)" has effectively made a brilliant dark comedy film. Even if it’s a dialogue-heavy watch, we found ourselves glued to the screen and clutching onto our seats, wondering where the conversations were leading. It’s not afraid to throw heavy-hitting questions on how we should feel about the political atmosphere of our country and even dares to humanize those some might deem irredeemable. Every cast member pulled out their A-game and locked in on their characters, but we’d like to show our slight bias for Mylene Dizon for delivering such a memorable performance. Dolly de Leon, to no surprise, did a brilliant job of making us feel the trauma her character has to go through. Jojit Lorenzo, with his character being placed in awkward situations throughout, nailed the uneasiness that the audience could laugh at. Overall, a rollercoaster of emotions akin to when someone brings up politics at a family dinner, and we’d ride through it every chance we get.

A movie for movie nerds through and through. Sari Dalena’s “Cinemartyrs” is the type of movie that becomes your favorite local filmmaker’s favorite film. There are references to the black-and-white era of Filipino filmmaking, one that feels so distant and lost on today’s audiences. Whenever we catch a glimpse of these old films, we feel awestruck over a bygone era, but also haunted by it. This triggers a curiosity to seek out some of the classic films shown, including Eduardo de Castro’s “Zamboanga” from 1937, starring Fernando Poe (FPJ’s father) and Rosa del Rosario (the first Darna). “Cinemartyrs” is essentially a love letter to analog and a reminder of how far independent Filipino filmmaking has gone over the years.

Noni Abao’s documentary is a must-watch to understand the important role of activism for the betterment of our country. While mainstream outlets and the running narrative paint activists as communist terrorists, “Bloom Where You Are Planted” immediately disarms any such claims. By showing the daily lives of these so-called “terrorists,” we can see right away that these are harmless people trying to help improve the livelihood of farmers in far-flung places. We are presented with the justification of their anger toward the government and the danger that comes with red-tagging. It’s crucial viewing in today’s political climate, especially now, when more Filipinos are not afraid to point out the atrocities of government inaction.

Nigel Santos’ “Open Endings,” by coincidence, marked the perfect end to our Cinemalaya binge. There’s a messiness here that has viewers feeling a range of emotions throughout, whether it’s cringe, kilig, anger, or joy. The cast has an electric chemistry with one another that has us rooting for and pining after every corner. We are left laughing through the chaos at one moment, right before squealing with delight from the sweetness among the pairings. Not once did we feel any dull moment. Queer women, stay winning!