‘Filipiñana’ has a real shot at the Oscar shortlist
That kind of exposure can define a director’s career. Filipiñana proves Rafael Manuel has a distinct visual voice, and I am genuinely curious to see where he takes it next.
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That kind of exposure can define a director’s career. Filipiñana proves Rafael Manuel has a distinct visual voice, and I am genuinely curious to see where he takes it next.
Holding two seemingly contradictory thoughts about a movie is entirely valid. While I gave Rafael Manuel’s Filipiñana a modest 2.5 out of 5 stars, I still believe it has a genuine shot at becoming the first Philippine entry to make the Academy’s 15-film shortlist for Best International Feature Film.
I respect the film’s craft, but it lacks an emotional core. Filipiñana feels much like a coffee-table book: beautifully shot, perfectly framed, and stunning to look at. Yet, that rigid visual style often gets in the way of the human story. Every shot is clean and controlled, but it keeps the audience at arm’s length. Still, I am proud of what the film has achieved and want to see it succeed.
The long odds
Filipiñana is the Philippines’ 37th submission to the Oscars. No local film has ever made the shortlist, let alone secured an actual nomination. That is the history Manuel is up against.
The global competition this year is fierce. Romania sent Cristian Mungiu’s Fjord, France has Andrey Zvyagintsev’s Minotaur, Poland has Paweł Pawlikowski’s Fatherland, South Korea brings Lee Chang-dong’s Possible Love, and Japan features Ryusuke Hamaguchi’s All of a Sudden. Add contenders like Lukas Dhont’s Coward (Belgium) and La Bola Negra (Spain), and the field gets crowded fast. Even so, Filipiñana has enough momentum to stand out.
That momentum comes from its strong festival run. It won the Special Jury Award at Sundance, and The New Yorker’s Richard Brody called it a “masterwork.” With a 90 percent score on Rotten Tomatoes, it is already part of the international conversation — and that matters when Academy voters start paying attention.
Influences and style
Born in Manila in 1990, Manuel studied philosophy and visual communications at Ateneo de Manila before earning his MA at the London Film School. His 2020 short film Filipiñana won the Silver Bear at the Berlinale, which led to a mentorship under Jia Zhangke through the Rolex Arts Initiative. This feature is an expansion of that award-winning short.
In media reports, Manuel has cited Lav Diaz and Béla Tarr when talking about the film’s slow pace. Beyond those influences, I also see shades of Wes Anderson and Ben Sharrock in its execution. You can see it in the symmetrical framing, dry humor, and staged character movements.
Why the Oscars still matter
Wanting an Oscar run is not about needing Western approval. Philippine cinema has intrinsic value regardless of what foreign critics think, and seeking validation from abroad gets us nowhere.
However, the Oscars offer practical reach. Cannes and other top festivals build prestige within the industry, but the Academy reaches a massive global audience. A shortlist spot or nomination does not make Filipiñana a better film, but it forces international distributors, producers, and viewers to pay attention. And that attention opens doors for future funding and wider distribution for Philippine independent cinema as a whole.
Looking ahead
That kind of exposure can define a director’s career. Filipiñana proves Rafael Manuel has a distinct visual voice, and I am genuinely curious to see where he takes it next. The film may not have moved me emotionally, but its craft and intent are difficult to dismiss.
My 2.5-star rating stands, but so does my prediction. I do not need the Academy to tell me that Filipino films matter. I want Filipiñana on that stage because it has something of its own to say, and the confidence to say it in a language that belongs to Rafael Manuel.
