Recommended Viewing for Holy Week: Ishmael Bernal's "Hinugot sa Langit" (Wrenched from Heaven)

This Holy Week, films with religious themes come to mind — foreign classics like The Ten Commandments and local gems such as Himala (Tagalog: Miracle). Ishmael Bernal directed Himala, but he also made another film that I think is equally fitting for reflection during this season: Hinugot sa Langit (Tagalog: Wrenched from Heaven).

Poster of the 1985 film

Image Credit: Regal Entertainment

This 1985 film centers on Carmen (Maricel Soriano), a young woman who faces the heavy dilemma of whether or not to have an abortion. While struggling with her personal crisis, she also becomes entangled in a broader narrative that exposes inequality and hypocrisy in society.

The title itself is a euphemism for abortion: "hinugot" (Tagalog: pulled out or wrenched) as the literal act of removing the fetus from the womb, and “langit” as the sanctified space of the womb, the source of life. At the same time, “langit” also refers to Carmen's illicit relationship with the married Jerry (Al Tantay), which led to her unwanted pregnancy.

Another layer of meaning is the religious aspiration of drawing closer to God — but this "heaven" becomes futile when faith is only outward, lacking compassion for others. Juling (Charito Solis), Carmen's landlady, embodies this hypocrisy.

Juling constantly proclaims "Praise the Lord!" and even hosts prayer meetings at her home, yet she is eager to evict informal settlers like David (Ray Ventura). Because Carmen is a boarder in Juling's house, her personal dilemma is literally enclosed within Juling's hypocrisy.

Carmen’s long-distance boyfriend Bobby (Rowell Santiago) is another source of pressure. His constant "you should do this, you should do that" feels like a checklist of moral obligations. Carmen wronged him, but Bobby also failed to understand her needs. Their relationship lacks equality and compassion; Bobby wants to play god, expecting Carmen's obedience.

In contrast, Carmen's friend Stella (Amy Austria) serves as a foil. Her advice is cynical: "The world’s population is 4 billion. God won’t even notice you." She even quips that Juling has a "direct line" to heaven — a jab at religious hypocrisy.

Meanwhile, David and the other informal settlers are themselves "pulled from heaven" — stripped of dignity after being denied basic needs. David's child dies of illness, his family is evicted, and the police respond disproportionately by shooting him.

In desperation, David secretly takes surgical scissors from the hospital — a symbol of medicine and life — and uses them to stab Juling to death during a prayer meeting. The act is morally wrong, but it reflects the desperate measures of the oppressed.

A biblical allusion is weaved in this part of the movie. In scripture, David struck down Goliath and became king. In the film, another David strikes Juling (whose name even echoes "Goliath"), the embodiment of hypocrisy. But instead of triumph, it ends in tragedy.

Ultimately, Hinugot sa Langit is not just about abortion. It layers themes of sin, illicit relationships, religious hypocrisy, and socio-economic deprivation. The title points first to the act of abortion — pulling life from the sanctified womb — but it also opens up reflections on guilt, anguish, and the failures of society.

This is why Hinugot sa Langit resonates as a Holy Week film: it invites us to examine not only personal mistakes, but also how religion and social structures shape compassion — or the lack of it.

Full Movie: Regal Entertainment / YouTube

                                

The Indelible Mark of Chuck Norris in Filipino Popular Culture

Chuck Norris recently passed away. This news brought sadness and nostalgia to many, especially to Filipinos who watched his movies in the 1980s and laughed at the internet phenomenon known as "Chuck Norris Facts."

His passing reminds us that our idols are departing one by one, and that is disheartening. All we can do is remember them as pop culture icons.

For Chuck Norris, his iconic status came from action-packed scenes and the hyperbolic yet entertaining online claims about his abilities.

I first became aware of Chuck Norris when I saw trailers of his films on TV programs like Movie Eye and Movies to Watch. That was the first time I heard his name, and from then on his image as a tough action star became familiar. I realized that action stars were not just FPJ, Lito Lapid, and others—foreign heroes also entered the collective Filipino imagination.

In the internet age, he became a symbol of hyperbolic toughness—a caricature of an unbeatable, unparalleled action hero. Almost like Julio Valiente (but that is another story). Yet now that he is gone, every joke carries a tinge of sadness.

For Filipinos, the memory is not just humorous but sentimental. Even though he wasn’t Filipino, he became part of Filipino pop culture.

In the 1980s, during the era of Betamax tapes and double-feature cinemas, action movies were wildly popular. Chuck Norris's films—from Missing in Action to Delta Force—were favorites among audiences, especially men.

These movies were even parodied as Action Is Not Missing and Buwelta Force.

It was even more significant because some of these films were shot in the Philippines, with Norris working alongside Filipino actors. For many viewers, it was a "Proud to be Pinoy" moment.

These movies were released during a time of political turmoil, the aftermath of martial law, and widespread poverty. Cinema became a place of escape—a chance to forget problems and watch a hero who always won.

By the 2000s, his name rose again in internet culture. The humorous "Chuck Norris Facts" became a bridge of nostalgia, connecting the Betamax tapes and cinemas of the '80s to the digital age.

For example: "When Chuck Norris does push-ups, he isn't lifting himself up, he's pushing the Earth down."

Chuck Norris embodied the image of a tough man who could not be defeated; strong and resilient, with a body that never gave up. Though he has passed, the image that captured these qualities will never fade.

Thank you, Chuck Norris, for crossing cultures, for inspiring, and for leaving behind memories in the hearts of Filipinos.

Chuck Norris (1940-2026)

Photo Credit: Movie Market

An Enduring Song Titled "Kapalaran" (Fate) by Rico J. Puno

Why do Filipinos love Kapalaran (Tagalog: Fate), the song popularized by the late Rico J. Puno?

CD Cover

Photo Credit: Discogs

In the lyrics written by Chito Ilacad and Ernie Dela Pena, the polar opposites stand out. These attributes of life encapsulate the dualities of human existence: being rich/oppressed, joy/sorrow, failure/success. The song reflects the everyday experiences across society—a social mirror, so to speak—which is why it still resonates with the masses even after nearly half a century.

It is also interesting that the singer's name fits the message. In Spanish, "Rico" means "rich" or "wealthy." Yet the song points not only to material abundance but also to the richness of human experience that shapes each person’s identity.

Through the juxtaposition of opposites—being rich/oppressed, joy/sorrow, failure/success—the song suggests that one must encounter each element to grasp the fullness of emotion. That is what enriches life.

(And here we are again, rambling on. Is this brought about by time or by world-weariness? Maybe we should not think too much of the things we cannot control. Perhaps it is better to just sleep things off.)

ADDITIONAL NOTES

Let us go back to the song's enduring popularity. In countless instances, the song has been used in other categories of popular culture. I will focus for now on a movie and a TV series.

Kapalaran is performed by Fernando Poe Jr. and Niño Muhlach in the 1977 action Tutubing Kalabaw, Tutubing Karayom (Tagalog: Big Dragonfly, Small Dragonfly). The said actors play the role of Pinggoy and Berting: two unlikely strangers from the province who navigate Manila together to seek fortune.

Kapalaran was also covered by Gary Valenciano in the recently concluded TV series FPJ's Batang Quiapo (Tagalog: FPJ's Quiapo Kid), which is based on another movie starring Fernando Poe Jr.

It is also interesting to note that Fernando Poe Jr. was a fan of Rico J. Puno. According to a 2018 Philippine Daily Inquirer article, the actor watched the singer's performances in various bars and clubs, particularly at Spindle in Quezon City.

LYRICS

Bakit ba ganyan
Ang buhay ng tao
Mayro'ng mayaman
May api sa mundo
Kapalaran kung hanapin
'Di matagpuan
At kung minsa'y lumalapit
Nang 'di mo alam
O bakit kaya
May ligaya't lumbay
Sa pag-ibig may bigo't tagumpay
'Di malaman 'di maisip
Kung anong kapalaran
Sa akin ay naghihintay
Bakit kaya
May ligaya't lumbay
Sa pag-ibig may bigo't tagumpay
'Di malaman 'di maisip
Kung anong kapalaran
Sa akin ay naghihintay

TRANSLATION

Why is life like this?
There are rich people
There are oppressed people in the world
Fate is sought after
It cannot be found.
And sometimes it comes
When you are unaware
Or why is it
There is joy and sorrow
In love there is failure and success.
It is unknown, unimaginable.
What fate awaits me?
Why is it there is joy and sorrow.
In love there is failure and success
It is unknown, unimaginable
What fate awaits me?

Lyric Video: Vicor Music / YouTube

Another Guilty Pleasure: Two Themes to Think Over With in "I Do? I Die! (D'yos Ko 'Day!)"

The 1997 comedy film I Do? I Die! (D'yos Ko 'Day!) gained its place in the Pinoy pop culture because of hilarious scenes that went viral on the Internet in the latter part of the 2010s.

Bernardo "Bernie" Mendiola (Edu Manzano) owns an antique shop with Domeng (Babalu) and Mokong (Redford White) being his employees. One morning, Bernie fired Domeng and Mokong. He did not know that the two had just come from an overnight job ordered by the manager (Joji Isla).

Mokong and Domeng on their way to try their luck in a construction site.

Screen Capture: Star Cinema

The trouble is that Bernie owns the site

Screen Capture: Star Cinema

Instead of receiving a bonus and vacation, Domeng and Mokong were forced to look for new work. Their job hunt led to a series of hilarious situations. Many of us already know what happened. For now, we will just focus on two themes:

Theme Number One is the different kinds of diligence.  Bernie showed diligence with direction. He worked hard for his family and became successful. It also affected his relationship with his wife and children, but that’s another story.

Domeng and Mokong, on the other hand, showed diligence without rest. They were motivated by the promise of a bonus and vacation. But they got tired and slept at the wrong time and place. Bernie then saw this as negligence.

Theme Number Two is monopoly capitalism, presented through comedy.  Bernie can be seen as a monopolist. He recurringly appears as the owner or boss of different business enterprises. 

For Domeng and Mokong, one man can control their fate and opportunities. In the bigger picture, this seems like the "illusion of choice" in capitalism.

Domeng and Mokong decided to just beg instead, saying there is no boss, the income is good, and there are no taxes. (For most minimum wage earners, taxes are a burden—especially if they are not properly allocated to public services.)

So Domeng and Mokong started begging. The twist? Bernie was still the one inside the car they knocked on. 🤣

Anyway, this post is getting nowhere. If there is a need to escape the heaviness of the world's pressing issues, we can just go to YouTube and watch these scenes.

Full Movie: Star Cinema / YouTube

Excitement Over Lav Diaz's "Magellan" in the Criterion Collection

On March 17, 2026, The Criterion Collection announced the upcoming release of Lav Diaz's film Magellan in DVD and Blu-ray formats. The discs are expected to be available in June of the said year. 

For me, the date March 17 itself carries a deeper significance. Exactly 505 years earlier, on March 17, 1521, Ferdinand Magellan arrived on the island of Homonhon (now part of the Philipine province of Eastern Samar).

The arrival of Ferdinand Magellan and his crew was the first recorded European contact with the Philippines. 

(Although, as Yoyoy Villame humorously sings in his popular novelty tune, it was March 16—but that is another story.)

Ferdinand Magellan's name is evoked in both milestones that took place on March 17, with the events separated by five centuries.

In 1521, Ferdinand Magellan's arrival signaled the beginning of the colonization of the Philippines. That event laid the foundation for the long and complex history of the nation.

In 2026, Ferdinand Magellan's name reappears, but in a different guise. This time, the explorer appears to serve as a bridge for Philippine cinema to be recognized on the global stage. 

We think the inclusion of Lav Diaz's Magellan in the Criterion Collection is big deal, considering its reputation as a prestigious archive of "important classic and contemporary films."

Lav Diaz's Magellan is set to join two films by Lino Brocka, Maynila: Sa mga Kuko ng Liwanag (Tagalog: Manila: In the Claws of Light) and Insiang, in this esteemed collection. 

March 17 is a date that once opened the door for a long social, economic, and political process that has shaped and continue to influence the Filipino identity. 

The said date now opens a new opportunity for introducing the Filipino identity to more audiences in the international arena.

We are hopeful that the announcement by The Criterion Collection marks a consequential step toward the inclusion of the more critically acclaimed and culturally important films created by Filipinos.

INTERESTING SIDE NOTE

*** When the Yoyoy Villame song Magellan was released in 1972, the incumbent Philippine president was Ferdinand Marcos Sr. 

At the time when The Criterion Collection made its announcement regarding the Lav Diaz film, the Philippine president is Ferdinand Marcos Jr.

Father and son are namesakes of the Portuguese explorer.

Photo Credit: The Criterion Collection

 

Guilty Pleasure Comedy in "'Tong Tatlong Tatay Kong Pakitong-kitong" (1998)

'Tong Tatlong Tatay Kong Pakitong-kitong (Tagalog: This Three Pakitong-kitong Fathers of Mine) is a 1998 comedy film directed by Efren 'Lodging' Jarlego. It stars Babalu, Redford White, and Bonel Balingit as three bachelors who adopt a mischievous orphaned child named Jingle. Serena Dalrymple plays the role of the said child.

The film title is a play on the children's song Tong Tong Tong Pakitong-kitong, which is about a big and tasty crab that is difficult to catch. The crab mimics the action of a fish that is known as kitong in Cebu.

Photo Credit: Video 48

PLOT

The titular trio comprises the bachelors Bobby, Alvin, and Jack. Bobby and Alvin work as clerks, while Jack is a security guard at a recruitment agency. The three of them live in an apartment rented out by their gay landlord, Diday. He is constantly annoyed with the trio for being perennially late in paying the rent. He is also displeased that they court his niece, Cristy.

Meanwhile, Jingle is a child repeatedly returned to the orphanage. She has had three chances to be adopted, but each time it fell through because of her mischievousness. One day, she painted the entire  facade of the church building. The townspeople got fed up with her antics, and this situation coincided with the retirement of the orphanage caretaker, Padre Roman.

Padre Roman sent a letter to Jack, asking him to take Jingle in. Out of gratitude, Jack agreed, though Bobby and Alvin objected. With no other choice, they let Jingle stay, on the condition that she handle the household chores. Jingle thought the three were really kind, but suspected they were deliberately making life hard for her so she would be sent back to the orphanage.

Everything changed when the three lost their jobs after their employer's illegal activities were exposed. On the way home, Bobby was struck by a bag thrown from a van being chased by police. The bag contained jewelry stolen by a syndicate. At home, Jingle overheard the three arguing and saw the news report on TV. 

While the trio slept, Jingle took and hid the bag. This hot item became her leverage, forcing the three to treat her well like their own daughter. From then on, they did the household chores, accompanied her to school, and even took her to leisurely trips.

One night, after returning from a vacation in Baguio, syndicate leaders Eric and Cita arrived at their home. Pretending to be Jingle's parents, the couple presented what they claim as a court order. The trio were forced to hand Jingle over. 

Moments later, Bobby received a phone call from Eric, ordering them to come to the hideout and discuss the return of the bag of jewelry. The trio were allowed to see Jingle, who whispered something to Bobby. Bobby and Alvin were sent home to retrieve the bag, while Jack and Jingle were held as hostages at the hideout.

At home, Bobby and Alvin discovered a map in which Jingle had drawn the location where she hid the bag. To the left of the X mark, Alvin read "50,000 steps." They began walking, but encountered all sorts of mishaps: colliding with a vendor, nearly being hit by a train, chased by a dog, and forced to climb a tree with a python. 

Eventually, Alvin and Bobby found themselves on a beach, but the 50,000th step was in the sea itself—where sharks attacked them. They returned home battered and with torn clothes. Alvin suggested trying again, but Bobby refused. Instead, he re-read the map: it was "5 steps," not "50,000." On the fifth step, they discovered the bag hidden in the mailbox.

Diday and Cristy saw them and the latter made a telephone call to the police. Together, the four of them returned to the hideout and the police arrived. Jingle was rescued, and she revealed that Cristy also knew where she had hidden the bag. With the help of Jimmy, Cristy's policeman boyfriend, a plan was set to capture the syndicate while monitoring the trio.

Some time later, the trio, Jingle, Cristy, and Diday were at the airport. The trio thought they are sending off Jingle. It was not the case; Cristy said that Padre Roman sent a telegram so the trio could welcome a large group of orphaned children to adopt anew.

NOTES:

*** Jingle (portrayed by Serena Dalrymple) said the line "Kayhirap magpalaki ng magugulang." (Tagalog: It is hard to raise exploiters) at least twice. This film's working title is Kayhirap Magpalaki ng Magugulang.

*** About 80 minutes into the movie, Bobby (portrayed by Babalu) says, "Malapit na akong mamatay ... sa pagod." (Tagalog: I'm about to die... from exhaustion.). About three months after the release of this movie, Babalu died of a liver ailment.

*** Buddy Norton is known for his portrayal of a priest in the TV commercial for Coat Saver, a brand of paint. His scene in this movie is a nod to the said advertisement.

*** The hideout appears to be depot where dilapitated Pantranco buses are stored.

MAIN CAST

Babalu    ...    Bobby

Redford White    ...    Alvin

Bonel Balingit    ...    Jack

Serena Dalrymple    ...    Jingle

Lara Morena    ...    Cristy

Bernardo Bernardo    ...    Diday

Mark Gil    ...    Eric

Cita Astals    ...    Cita

Brandon Ramirez    ...    Jimmy

Don Pepot    ...    Mr. L.A. Guy

Buddy Norton    ...    Padre Roman

Full Movie: Star Cinema / YouTube

The Thin Line Between Vengeance and Passion in "Free to Love" (1981)

Free to Love is a 1981 romantic-drama film directed and written for the screen by Emmanuel H. Borlaza, based on a story by Toto Belano. The film is one of more than a dozen that features Cherie Gil and Rosemarie Gil, who are daughter and mother in real life.

VHS Cover

Photo Credit: Tagalog Ilang-Ilang Productions / Letterboxd

PLOT

Rosa, a hostess, is strict with her daughter Wendy, especially regarding her boyfriend Gary. Her strictness stems from deep wounds: Rosa and Wendy were abandoned by her husband Fernando, who married another woman to obtain a green card. Rosa’s only wish is for Wendy to finish college, work in America, and exact revenge on Fernando. One night, Rosa feared that bar owner Brando no longer pimped her to clients. She confronted him, leading to a heated quarrel that ended with Rosa being thrown out. In despair, she swallowed a large number of sleeping pills. Wendy found her in time and rushed her to the hospital. Wendy promised her mother she would do everything to prevent such an attempt again. Instead of staying with Gary, Wendy decided to go to America to find her father. Before leaving, she gave herself to Gary. In America, Wendy was warmly welcomed by her colleagues, which gave her peace of mind. She wrote to Rosa, expressing doubts about the obsessive plan to take revenge on Fernando. Rosa's reply pushed Wendy to make a telephone call to her father.

They reunited, and Fernando introduced Wendy to his new family—his wife Mildred and half-sister Cathy. Their first meeting was cordial, but tension arose when Fernando agreed to Wendy's request to live with them. Cathy welcomed her, but Mildred resented Wendy’s efforts to fit in.

Meanwhile, Cathy became pregnant by her boyfriend Bernard, but refused to marry him. She moved in with Bernard, leaving Wendy alone in the shared room at Fernando's house. Mildred grew angrier when Wendy asserted her right to stay. Mildred poisoned Cathy's mind against Wendy, and when Cathy returned, Mildred accompanied her to drive Wendy out. A commotion ensued, causing Cathy to miscarry. On that Fourth of July, Fernando disowned Wendy. Wendy found another place to stay and eventually entered into a relationship with Bernard. But when Mildred and Cathy discovered them, Wendy was consumed by guilt. She attempted suicide, but Bernard stopped her. In the end, Wendy left America, as Bernard could not give up his dreams there. Back in the Philippines, Wendy met Gary and confessed she was pregnant with Bernard's child—a relationship that began as revenge but turned into genuine affection. Wracked with guilt, she nearly sought an abortion, but Gary stopped her. Gary took responsibility, and Wendy once again faced her mother, whose heart softened upon seeing her grandchild. In the final scene, Bernard arrived and learned the truth: he was the child's real father. Wendy allowed him to see their child. In a quiet moment of acceptance, Bernard said goodbye. A handshake between Bernard and Gary appeared to symbolize reconciliation and closure, while Wendy looked on.

MAIN CAST

Cherie Gil    ...    Wendy

Rosemarie Gil    ... Rosa

Joe Fabregas    ...    Gary

Ernie Garcia    ...    Bernard

Deanna Galang    ...    Cathy

Andy Poe    ...    Fernando

Pacita Arana    ...    Mildred

SELECTED CREW

Direction and Screenplay ... Emmanuel H. Borlaza Story ... Toto Belano Cinematography ... Ben L. Lobo Editing ... Edgardo 'Boy' Vinarao Musical Direction ... Idan Cortez Executive Producer ... Espiridion Laxa

Full Movie: Tagalog Ilang-Ilang Productions / Cinema One / YouTube