Jaguar (Lino Brocka, 1979)

If you'll be my bodyguard  

Jaguar has a tony reputation: directed by Lino Brocka, loosely adapted by Jose 'Pete' Lacaba and Ricky Lee (from the true-life story "The Boy Who Wanted to Become Society," by Nick Joaquin), edited by Augusto Salvador, lensed by Conrado 'Carding' Baltazar, it's the first Filipino film to compete in the Main Competition of the 1980 Cannes Film Festival.

That said the film doesn't come up as often in cinephile discussion as Brocka's Maynila sa Mga Kuko ng  Liwanag or Insiang, which shouldn't be a surprise. Maynila and Insiang were released on DVD, Blu-ray, and streaming as part of the Criterion Collection; Jaguar is only available in crummier and crummier streaming copies, in the nether regions of the internet-- until recently, when the Film Development Council of the Philippines (FDCP), the Philippine Film Archive (PFA), and Cite de Memoire all collaborated on a restoration. The film premiered in last year's Lumiere Festival in Lyon France, then opened the Sinag Manila Film Festival last night with a star-studded screening. After over forty years, Jaguar returns to Filipino audiences with a vengeance. 

Sorcerer (William Friedkin, 1977) vs Wages of Fear (Henri-Georges Clouzot, 1953)

A bridge too far

You hear the debate at the fringes of socmed discussion: "Which is the better film, Henri-George Clouzot's black-and-white thriller or William Friedkin's $22 million tribute/remake?" Well let me tell you

(WARNING-- plot twists discussed in explicit detail!)

Magellan (Lav Diaz, 2025)

Killing fields

Looked down at my notes after just having finished Lav Diaz's latest Magellan (2025) I see-- circled and underlined, on top of the page-- the words: 'so much killing!'

The Searchers (John Ford, 1956) in a 70 mm print

That'll be the day

Finally saw John Ford's The Searchers (1956) in a 70 mm print and the experience is as sprawling and expansive as the VistaVision landscape.

(WARNING: Plot of this 69-year-old film discussed in explicit detail!)

Cloud (Kuraudo, Kurosawa Kiyoshi, 2024)

Psychospace

I thought Weapons-- Zach Cregger's brilliantly structured supernatural thriller about seventeen children running out their front doors and vanishing into the night-- was hot shit, arguably the best horror of 2025; along comes Kurosawa Kiyoshi saying "hold my beer."

Weapons (Zach Cregger, 2025)

Incoming

First things first: Weapons is easily the best horror in 2025 to date, an ingeniously written inventively shot and staged film written and directed by Zach Cregger, whose debut feature Barbarian was also an inventive ingenious horror released in 2022. 

With that out of the way-- (WARNING: plot and surprise twists discussed in close and explicit detail!)

Eddington (Ari Aster, 2025)

'Who is that masked man?!'

I have yet to warm up to Ari Aster, a talented filmmaker who does inventively staged and shot twists on classic horror but has yet to deliver a cohesive feature. Hereditary his debut starts off with a fairly unique premise-- a mildly dysfunctional family where the horror arises not from supernatural evil or witches' covens but from a peanut allergy; later Aster drags in the evil and covens, in a weak-tea attempt to emulate Rosemary's Baby. Midsommar is Aster's stab at remaking The Wicker Man with twice the budget and half the subtle wit. Beau is Afraid is arguably his most original work-- or at least his work with the most wide-ranging influences such that it seems original, even autobiographical-- and perhaps the one feature I like best to date. 

Eddington feels like a step backwards. Aster starts off well-- he almost always starts off well-- introducing a small town and half a dozen of the interlinked characters of that town, mainly Sheriff Joe Cross (Joaquin Phoenix) and his boss Mayor Ted Garcia (Pedro Pascal) and as Phoenix usually plays characters who lean into their awkward grotesqueness and Pascal usually plays charismatic patriarch figures you can be sure these two alpha males will lock horns at the mayor's re-election campaign.