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While Thailand suffers from a conservative turn post-PP and MFP, the Philippines continues to silence dissent and endanger the lives of its youth. In his August 2020 speech, Thongchai Winichakul underscored the severity of youth repression: “Attacking the youth and destroying their dreams today is not only the destruction of the futures of a few individual young people, but is the killing of the futures of all those in the generation. The future of the nation is being destroyed by the hands of all the revered grown-ups” (translation by Tyrell Haberkorn). This remains the everyday in the Philippines, from the Marcos years to the present. In this review, I trace the film’s history and politics, specifically the 2020 youth movement that gave birth to Bad Student (นักเรียนเลว). A group that critiques the ultraconservative rule of schools. I connect this to the recent surge of protests in the Philippines, such as the UP walkout and the September 21, 2025 demonstrations, solidifying the importance of youth movements in forging a just society. For there is no power high enough to ever stop the youth’s desire to tremble the sky. Grateful to Saithong Saenpanya and Jiraphat Vinagupta for allowing the use of their photos of Arnold is a Model Student directed by @sorayos . Thankful to @mekongreview for the space, and to Kirsten Han for their patience and helpful edits! Palagi ring nagpapasalamat kay @nuquimarco sa lahat ng bagay! Hoping for my piece to be available online soon! For now you can buy then through here: /s/2ea3064923

Joanne Cesario Who Dared In Three Worlds Photography by Jo Espiritu and Lorence Lozano Text by Lemuel Pabalan and Chiara Valenzuela Styled by Alexa Sambale and Chiara Valenzuela Makeup by Chiara Valenzuela Post-processed by Jo Espiritu Assisted by Melinda Reyes Produced by AJ Dela Cruz Featured artwork by Jo Espiritu Special thanks to: Concerned Artist of the Philippines College of Fine Arts Photo Studio Tambisan sa Sining Sarah Gates Maria Enaje Sophia Cabugoy College of Media and Communication Student Council

hindi pa fully nailalabas pero feel ko mag-essay na ko cause HWAHAHW mayo uno naman na!!! but we did our first ever editorial shoot!! kahit na andami kong agam-agam sa mga bagay-bagay baka self sabotage lang talaga (anurawww) so first of all una sa lahat NYECHE SUPER SUPER SALAMAT kay @johanahhhhh kasi kahit sobrang random kong nag-pitch sa kaniya nag go siya kaagad na para bang di na need ng convincing powers to e oo na lang agad e!! and shared every stress with me sa isang linggong nag-prep kami for this and also actually finding equipments for us to use!! and also collaborating and sharing visuals and conversations paano itatahi lahat ng bagay!! THANK YOU TEH LAMOYANNNN ikaw na pinaka-island gyall sa lahat gow!! thank you rin kay @adjofglory kasi instead of saying ur the best photog editor ever i’ll say, ikaw sumagot ng gastos at sobrang nagtiwala sa vision na to kahit di sobrang “formal” na-pitch 🤣 ito na lang muna kasi baka yumabang ka na naman ayoko nun 🤣 salamat salamat kay @mrk.lmlp na nahila bigla kahit wala naman siyang plano sumama pero nag-go pa rin 🙏 kina @chiaravalenz at @alexasambale na doble-doble ang gawa kahit na walang sobrang in-depth meetings pero nagawa pa rin yung visuals lalo na kay toni na nagbigay pag-asa sa vision set namin ILY GUYS!! salamat din kay @sns.gates kasi may pangkain kami at may kamera kaming nagamit!! super salamat din kay @reyesmelinda_ na sobrang random na nahila salamat sa tulo g teh 🙏 SALAMAT GUYS LIKE ANG OA KO NA!! anu pa ba medyo close to heart azza film(maker daw) so abangan niyo guys yung profile article ++ other photos pa namin! 🥳

i love you friends smmmmm!! or as the thai proverbs (/j) says: pruen mai daii saang kuen maa duay kan phuuk mitd tae ked maa pen pruen kan aka thank you for being born as my friend (sabi nga sa not friends)!! shot on film! (+ ily smm friends and those who aren’t here!!)

sampung taong pangungulila sa espasyo (a decade’s search for space) “need space?” superimposed photographs #WhatWeLostInTheFire #WakasanAngKALbaryo

will there ever be trans spaces in this almost collapsing world? i want to believe so. space, from its most abstract form to its fully-formed physicality, is always in transit, bending not only time but how it embraces those who dwell within it. dahil ikaw iyon at naroon ka. sa loob at labas ng telebisyon; sa batas; sa bawat sulok ng akademya; higit pa sa palikuran; sa sinehan at pinilakang-tabing; nagbabalita; nagtuturo sa mga nasa kanayunan at siyudad; tangan-tangan ang armas; nasa mga salita ng tula; talata ng mga nobela’t kuwento; nakaukit sa pag-apuhap ng personal na sanaysay; pinapalakpakan ng mga taong naghihiyawan sa angkin mong kabuuan; niyayakap ang gabi sa pakikipagniig sa mga katawan; si jennifer laude; si gretchen diez; si ebeng mayor; si kierra apostol; si ali macalintal; si ren tampus; si shalani dolina; si cindy torres; si shaina bayabay; si khay abdulgajir; walang pangalan; hindi ka naabot; babae ka at lalaki; marahil ay wala sa dalawang ito at naroon ka sa pagitan; maaaring hindi; pero ikaw ang lahat ng iyon; until then, to be trans, to be a woman, to be feminine in a man’s world is to traverse and live in precarity. always in transit and devoid of contentment, until we topple and dismantle the imperialism upon us. #TDOV

tanaw na tanaw kita mula sa siyudad. rinig ko ang ‘yong mga lunggati mula sa ihip ng hangin, animoy dinadala ako nito papapalapit sa iyo. hanggang sa lagaslas ng tubig mula sa ilog, ramdam kong narito kayo’t naghihintay para sa amin.

[NEW @asian.cha REVIEW] Lorence Lozano reviews 𝑆𝑖𝑠𝑎 (2025), directed by Jun Robles Lana: / After its world premiere last year at the 29th Tallinn Black Nights Film Festival, 𝑆𝑖𝑠𝑎, directed by Jun Robles Lana and beautifully shot by Carlo Mendoza, was finally released theatrically in the Philippines this year. The film also recently won Best Screenplay at the 46th Fantasporto Internacionale de Cinema do Porto. Haunting, profoundly haunting indeed, is Lana’s rendering of Sisa. While operating outside the Sisa of José Rizal’s 𝑁𝑜𝑙𝑖 𝑀𝑒 𝑇𝑎𝑛𝑔𝑒𝑟𝑒 (𝑇𝑜𝑢𝑐ℎ 𝑀𝑒 𝑁𝑜𝑡, 1961), Lana’s film is richly allusional, reimagining madness as a deliberate act of defiance against American rule. Like his 2013 film 𝑀𝑔𝑎 𝐾𝑢𝑤𝑒𝑛𝑡𝑜𝑛𝑔 𝐵𝑎𝑟𝑏𝑒𝑟𝑜 (𝐵𝑎𝑟𝑏𝑒𝑟’𝑠 𝑇𝑎𝑙𝑒𝑠), the narrative of Sisa unfolds through the eyes of women in a reconcentrado camp, particularly the titular character, Sisa, the lone survivor of the killing of her family at the hands of American colonisers. The opening establishes the premise. A shot of the mountain reveals Sisa, impressively portrayed by Hilda Koronel, walking barefoot, her appearance dishevelled and her mind seemingly gone. As she looks toward the sky, reminiscent of Elsa in Ishmael Bernal’s 𝐻𝑖𝑚𝑎𝑙𝑎 (1982) when she sees the Virgin Mary, she eventually urinates on herself. A few minutes later, she grabs a handful of sand and hurls it at the American soldier guarding the camp, a loud act of disrespect toward the power of imperial America. / 𝐑𝐄𝐀𝐃: /2026/03/08/sisa/ 。。。。。

do you think photography manipulates time? or does it tell the history of our times? and the now which is the in between of the past and present. is photography even conscious of time, or does it awaken society’s consciousness of it? superimposed images

natatakot pa rin kasi baka misreading lang eueue pero i am officially a upd journal girlie?? ijbol 🤭 nabasa ko ang libro 2024, naghahanap kung mayroon bang libro tungkol sa papel ng kritisismong pampelikula sa pagbuo ng nasyon. 2025 noong mabalikan ko ito para sa isang sabjek na phil stud 101. salamt kay sir mon sy at salamat sa diliman review (mga editors at evaluator) para sa espasyo. ang lahat ng iba pang pagkakamali ay sa akin na. https://saliksik.upd.edu.ph/journal-issue/DR-01-26-001

this is our eight thousand layers, happy birthday @nuquimarco 🫶#reposted excerpt from 36 by nawapol

roadside objects at noon