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Philippine animation, also known asPinoy animation orFilipino animation, has a strong history of animation inSoutheast Asia started in the mid-20th century. The animation provided in media including films, television commercials and series, and video games.
It came out the very first animated short was thekomiksillustrator andcartoonistLauro "Larry" Alcala, the founding father of Philippine animation.[1] The early years of Philippine animation were mainly commercial advertising in the mid-1950s and later reinvented as a medium andart form started in 1961.Painter Rodolfo Paras-Perez and cartoonistsJosé Zabala-Santos andFrancisco Reyes are considered the first pioneers of Philippine animation in mid-20th century.[2]
Following the establishment of 1972martial law underFerdinand Marcos, the animation emerged a turning point to the entertainment industry, which led to the creation of the 1978 animated feature filmTadhana, emerge a new period started in the 1980s known as theGolden Age of Philippine Animation.[3][4]Geraldo "Geirry" A. Garccia,Severino "Nonoy" Marcelo, andRoxlee were among the second pioneers of Philippine animation in the midst of Marcos and post-Marcos era.[5][6][7]
Upon its creation of a new period underPhilippine New Wave, animated features became reluctant among the major film studios in the 2000s–largely due to string ofbox-office disappointments in favor of live-action romance and comedy films–however, animated short films remained widely popular in film festivals, most notably the newly establishedAnimahenasyon, as well as animated television series and commercials from the major networks.
Since the mid-2010s, animated features were slightly revitalized after the releases ofCarl Joseph Papa'sManang Biring andPaglisan, both were released onCinema One Original Film Festival and won awards, shifted to moreindependent,adult-oriented themes influenced by complex, mature storytelling with local issues and evolving cultural norms, moving away from family-friendly and mainstream factors.
Philippine animation is a body of original, cultural, and artistic works and applied to conventionalPhilippine storytelling. Using both talent and the application of classicanimation principles, methods, and techniques, this reflects and recognizes their relationship withculture andcomics in the Philippines.
It delves into the traditional Filipino "sense of going about things" ormanner of coping withFilipino's daily life and environment that allows to manifest through the settings, characters, and overall mood of the animation.[8][7]
The use of culture in the Philippines manifests through its narration and portrayal of the daily experiences of the Filipino people and objects that we usually see. It also features different elements in storytelling of Filipino mythology and folklore. Though some of them are not able to overtly show the sense of being a Filipino in their stories, which were successful in showing their values that we all uphold.[7]
In 1946,Antonio Velasquez, father ofPhilippine comics, said in an attempt that he was paid to write a script for an animated feature film based on his famous characterKenkoy, but the project was abandoned.[10]
In 1953, Philippine animation did actually came out the very first animation wasLauro "Larry" Alcala, did a short black-and-white animation on 8mm film of a girl doingjumping rope and a boy playing with ayo-yo.[1]
In 1955, Philippine animation started with cartoonists who converted some folklore characters and their komiks into animated shorts. For example,José Zabala-Santos andFrancisco Reyes producedJuan Tamad, a six-minute animated short film serves as anadvertisement for Purico cooking oil, based on the famous Philippine folklore character of the same name. However, there was no certainty whether the film is believed to have never had a commercial run or took a PMC product shot in 35mm and processed in the United States had actually been presented as a commercial, resulted that the use of animation in the industry was introduced for commercial purposes to advertise consumer products began in the 1950s.[7][11] For example, Alcala continued to produce animated shorts for television commercials of products such asDarigold Milk in 1957 andCaltex in 1965.[12][13][2]
Anon-narrative abstract andcollage16mm short filmConversation in Space (1961) by aUP-graduated painter Rodolfo Paras-Perez, considered one of the earliest animations and one of the earliest experimental films from the Philippines. These animations expand audience's perspectives of Southeast Asian modern and contemporary art. The film was screened at the first Asean film festival in Manila on 1971 and, in retrospective, theNational Gallery Singapore’s ‘Painting with Light,’ an annual festival of international films on art in 2018, making it the earliest animation short film in the Philippines to be rediscovered.[9][14]
"All were edited onpneumatic tapes, shot in35mm. And I did five minute animated shorts—twelve of those. Ely Matawaran and other cartoonists worked with me. Before, I had taken an animation course inNew York City. For two years, 1977-1978,NMPC was a security blanket (against arrest for doing critical Marcos cartoons in the press). I rented a house and I tapped all known animators, and we were commissioned to do animation in three months for NMPC."
During the Marcos period back inthe inauguration of the tenth president, Philippine animation become one of the regime's tools for propaganda and patriotism. Later in early films have been introduced bySeverino "Nonoy" Marcelo, a cartoonist who was hired by the government and worked in animation at theNational Media Production Center beginning in 1977, collaborated withImee Marcos and Zabala-Santos for directing a documentary film about Marcos going on a field trip to his hometown titledDa Real Makoy (1977) and adapting an animated feature titledTadhana (1978), acommissioned work which originally conceived as atelevision pilot and took production in three months. Described the film as "an animated compendium of new Philippine art", it was based on a multivolume book of the same name byFerdinand Marcos.[15]
Widely believed the Philippine's first foray into an animated feature film,Tadhana was premiered in Philippine television as a part of the anniversary of Martial Law in 1978.[6] At one point, Marcelo was supposed to replay and scheduledTadhana for a commercial theater release, but for some reasons, unclear it was never seen again due to the said film was not released commercially on theaters for public viewing.[3]
In 1979,The Adventures of Lam-Ang was produced by the same cartoonistTadhana made, which was a one-hour animated feature based on the folklore of the same name.[16] At the same year, Marcelo serves asanimation director for a seven-minute opening scene inNora Aunor'sAnnie Batungbakal.[17]
Due to their immense interest to Filipinos that animation as a hub for subcontracted labor in the 1980s, aspiring animators, such as the Alcazaren brothers (consisting of Mike and Juan) andRoxlee, dominated to create their own experimental animated short films, much of their work have adult-oriented themes andpolitical satire, untilthe People Power Revolution in 1986.[7]
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The first Philippine animated television series wasAng Panday, created byGeraldo A. Garccia (credited as Geirry Garccia) in 1986, based on a comic book character of the same name produced byCarlo J. Caparas.[18]RPN-9 began airing in November 1986.[18] Although it was a consistent success,Ang Panday lasted only for six months due to the high cost of producing an animated feature or series.[1]
The success ofAng Panday led to broadcasting two animated series in the following year:Captain Barbell, based ona komik superhero of the same name byMars Ravelo andJim Fernandez, aired on RPN, clashing with Garccia'sAng Panday for broadcasting competition;[19]Darna, based ona komik superheroine of the same name byMars Ravelo andNestor Redondo, released byGMA Network.[20]
In 1989,Sa Paligid-ligid is a two-houreducational animatedtelevision special about the environmental awareness and conservation produced by thePhilippine Children's Television Foundation aired on IBC 13.[6]
Began in the 1990s, topics of Philippine animation have been significantly shifted from an emphasis on satirical and historical events to everyday issues and identities that reflects their reality to Filipino people.[10]
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In the 1990s, Garccia worked on several animated works including an animated short adaptation ofNoli Me Tangere (1993),[7] live-action animated hybridIsko: Adventures in Animasia (1995) and a passion projectAdarna: The Mythical Bird (1997), a fully-developed animated film debut based on the 19th centurycorrido commonly titledIbong Adarna. Garccia, wrote the story and directedAdarna under FLT Productions and Guiding Light Productions, said he initially wanted to have the project as a TV series in 1997 but instead to a full-length film, and the film took two years to finish with roughly 300 animators and a new nine-minute segment soon added to the film that had the additional cost of ₱50,000, with producer Rose L. Flaminiano later bought the rights to the film's release when it was nearing completion.[21]Adarna was declared an entry to the1997 Metro Manila Film Festival (MMFF) on December 3, 1997, and received recognition from theMetro Manila Film Festival on December 27, 1997, as the "first ever animated movie in Philippine cinema" (Filipino:Kauna-unahang animated Movie sa Philippine Cinema), although predated by Marcelo'sTadhana.[22][23] It earned a box office from MMFF worth ₱11.2 million, but did not make it to its production cost. Despite being abox-office bomb and some critics were critical of the film's poor animation, the Adarna's theatrical release and pioneering recognition was considered a highlight to Filipino animation.[3] In 1998, it was also included in the Asian Collection ofJapan's 7th Hiroshima Animation Festival.[23]
Following Garccia's pioneering creations, an annual animation festivalAnimahenasyon was founded in 2007 and organized by theAnimation Council of the Philippines, Inc. (ACPI), serves as a flagship project to Filipino newcomers and animators in showcasing their original ideas.[24] Several animated short films and music videos premiere at the festival have been made over the years.
In 2007, Garccia produced the very first animatedtalk show on Philippine television entitledTalk Toons. Guest celebrities appeared in the series likeVilma Santos,Mikey Arroyo,German Moreno and former presidentJoseph Estrada. All were interviewed on video and transferred into animation.[1]
At the same year, a Filipino-American satirical animated series created by Ramon Lopez andJesse Hernandez entitledThe Nutshack. The series's premise revolves two distant cousins, Phil, from theSan Francisco Bay Area, and Jack, from thePhilippines, who live with their uncle, Tito Dick, in south-suburbanDaly City. Co-produced byKoch Entertainment[25] andABS-CBN International, it has been in development since mid or late 2005 and was produced inMacromedia Flash throughout the series on aWindows XP model. The series was teased in 2006 on YouTube and possibly on television.[26] It began airing onMyx TV, but the series was concluded in 2011 completing two seasons with sixteen episodes due to generally low-rated and critically derided, though it built a smallcult following from its reputation in late 2016 based on remixes of itstheme song onYouTube, which became aninternet meme.[27]
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In 2008, Garccia's creation was later followed by another theatrical animated film,Urduja, was top billed byCesar Montano andRegine Velasquez as voices behind the lead characters, premiered in local theaters. Produced using a mixture of digital and traditional animation techniques, the film took eleven years of conceptualization or pre-production and was done roughly for two years of animation development by approximately 400-500 Filipino animators and three different animation studios situated within Luzon and Visayan areas, produced more than 120,000 drawings that ran in 1,922 scenes equivalent to 8,771 feet of film.[28] The film earned ₱20 million during its premiere and gained a box office hit of roughly ₱31 million over unstated production cost, surpassing the milestone ofAdarna's grossing release but still unsuccessful in getting the audience interest which resulted in loss of profit.[3]
Another full-length animated film was released in the same year,Dayo: Sa Mundo ng Elementalia. The film revolves around Bubuy (voiced byNash Aguas) who is out to save his abducted grandparents in the land ofElementalia, a magical and mystical world that houses many of the mythical creatures of the Philippines and other enchanted elements.
Described as thePhilippines' first all-digital full-length animated feature film, the film was done for two years of development composed of over 500 animators using paperless 2D (characters) and 3D (backdrops) technologies. The film graced the premiere as an entry to the 2008Metro Manila Film Festival[29][30] and gained a total of ₱5.6 million against its ₱58 million worth budget, but again was a box-office bomb.[3]
In 2010,RPG Metanoia is the first feature-length theatrical animated film to be developed incomputer-generated imagery withstereoscopic 3D, which took 5 years to make with less than a hundred animators, and AmbientMedia and Thaumatrope Animation serve as production companies for the film.[31] The animation was done in full digital technology using 3D software for animation and 2D software for motion graphics and compositing, withRoadrunner Network, Inc did the stereoscope in the midst of post-production.RPG Metanoia was declared an entry and garnered three awards at the2010 Metro Manila Film Festival, earn a total of ₱33 million for four-week release after MMFF premiere, a little higher thanUrduja's ₱31 million, but was box-office disappointment over its production cost of ₱100 million.[32][3]
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At the same year, ananime-inspired television series created by Enrico C. Santos entitledSuper Inggo at ang Super Tropa, a spin-off of the television seriesSuper Inggo. It is the first collaborative project betweenABS-CBN TV, represented by business unit head and Vice President for TV Production Enrico Santos, and the newly formed ABS-CBN Animation Department, led by business unit head Guia Jose, who has trained at the Hanna-Barbera Studios in the United States during the 1980s. She explained that the series will run for two seasons, with each season tentatively containing 13 episodes that will approximately run for 22 minutes.
Kapitan Torpe, a now-defunctFlash-produced animated film about a reluctant superhero who fights crime and helps the oppressed. It was directed by Antonio Jose Cadiz and is the first and only feature-length film to be submitted at theAnimahenasyon festival, which won him the Best Animation of Category D for full-length animated feature in 2010. This led to focus Animahenasyon on short films and commercials due to lack of producing feature-length films in the future which started in 2016.[33]
Between the 2000s that the previous four animated films did not profit or break even with its production cost. This then resulted in a loss of interest in animation investors and the closure of local studios out of curiosity and respect towards animation in the Philippines due to in favor of internationally produced animation rivals and popularity clash towards the box office hit for Philippine cinema that favored romantic comedy films,[34] Philippine animation has shifted to more artistically complex, narrative-driven experimental animated films to other independent studios in locals without further box-office release.[3] However, animators still struggled to produce their originality due to the costly production and the decline in demand for animated films.[7]
In 2014, a student thesis filmPikyaw (2014) became the first animated film not only in Tagalog and Filipino languages, but fully voice performed inHiligaynon. The film follows a group of children: Abet, Tyrone, and Marco who finds themselves in aparallel universe that is the subject of revenge by Albion, a creature who lived in Calixto since he was a child.
In 2015, Carl Joseph Papa's feature-length animated debutManang Biring, ablacktragicomedy about an old woman with aterminal cancer who wishes to spend time with her family in Christmas until her death. It was made history by the first animated film to be screened and won Best Picture at theCinema One Original Film Festival.
In 2016, Avid Liongoren's first feature film debut waslive-action animated hybrid film entitledSaving Sally, first introduced in 2005 after the concept by Charlene Sawit in 2000, originally titledMonster Town as a short story. The film took twelve years to develop before was released in Philippine cinemas onChristmas Day as an official submission at the2016 Metro Manila Film Festival, which received both commercial success and positive reviews from critics in the Philippines, the former went on to earn ₱27 million during the premiere.[35]
In 2019, anexperimentalcoming-of-ageanthology animated film entitledCleaners, follows a group of high school students assigned as end-of-dayclassroom cleaners and their experiences surrounding variousschool activities. Filmed entirely and digitally on aSony A7S in live-action and shot in black-and-white, the film usespixilation technique with several intrusions ofcolour through clothing and various objects, estimated 40,000 frames were printed, photocopied, selectively crumpled, and highlighted to indicate the protagonists before being digitally scanned for editing.[36]
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In 2020, Liongoren's second feature film entitledHayop Ka!, concepted afterSaving Sally and took three years to produce. Originally as atelenovela-stylesoap-opera animated film during his prototype, he changed it as "light and comical" to aim for adults due to use of amount of profanity and sexual content like the previous film did.[37][38][39] Liongoren stated the hope for creating a "Filipino style when it comes to cartoons" and noted that the Philippines has a huge animation industry "that does work for foreign projects."[40] He also hoped it encourages "more local productions" and work for Pinoy animators. The film was distributed byNetflix to positive reviews and garnered seven nominations at the 44thGawad Urian Awards including Best Film and Best Director, winning Best Animation,[41] as well as six nominations at the 60thFAMAS Awards including Best Film and Best Director, winning Best Screenplay.[42] It was nominated as an official selection for main competition at the 2021Annecy International Animated Film Festival, the first Filipino animated feature film to be selected at the festival, although it lost to Academy Award-nomineeFlee.[43]
In 2021, Liongoren announced two animated projects based on works by respective authors:Zsazsa Zaturnnah Vs The Amazonistas Of Planet X, an adult animatedsuperhero film based on a komikZsazsa Zaturnnah byCarlo Vergara, where did it posted at Facebook,[44] after originally pitched as a television series nor another live-action film but agreed to produce as an animated film with Vergara as a screenplay.[45]Light Lost, a fantasy adventure based on the graphic novel of the same name by Rob Cham.[46]
In 2018,Barangay 143 (lit.District 143) is an anime-influenced television series covers drama, family tensions, and game-fixingcrime syndicates, the story is about a rising basketball star who returns toManila in search of his father.[47]
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At the same year, Papa'spsychological dramascience-fictionIti Mapukpukaw (2023), revolves an animator without a mouth (Carlo Aquino) prompted by his mother (Dolly de Leon) to visit his uncle, which leads to the return of an alien he encountered in childhood intent on taking him away from Earth. The film garnered several awards, including Best Film at the19th Cinemalaya Independent Film Festival and 47th Gawad Urian Awards, the first animated film to do so. It makes history as one of four films and the only animation in the group that is entered in the81st Golden Globe Awards and for the submission as thePhilippine entry for theBest International Feature Film category at the96th Academy Awards, the first animated film to be submitted by the Philippines.[48] The film wonBest Animated Film at the17th Asia Pacific Screen Awards, the first Filipino animated film to win this feat.[49]
In 2025, American animation studioDreamWorks Animation is producing a comedy adventure animated film calledForgotten Island, based on Philippine mythology, with Filipino-American animator Januel Mercado serves as a co-writer and director. At the same year,Second Love, produced by Studio Moonchalk and directed by John Derrick Goze, was selected as a part ofBest Animated Film entry at the inauguralScience and Technology Film Festival in September 2025, the first RPG Maker animated film ever to be selected at any international film festivals and the only Philippine animated film to do so at the film festival.[50]
At the same year,GMA Pictures announced their upcoming first foray toadult animated feature films: Carl Joseph Papa's animateddocudrama58th about theMaguindanao massacre that took place in 2009,[51] and Mervin Malonzo'sElla Arcangel: Awit ng Pangil at Kuko, based on a 2017komikElla Arcangel by Julius Villanueva.[52]
All of the animated works have different narrative aesthetics such ashistory (e.g.Urduja),mythology (e.g.RPG Metanoia),supernatural (e.g.Dayo: Sa Mundo ng Elementalia),satire (e.g.Heneral Tuna),non-narrative (e.g.Project1), andadult animation (e.g.Manang Biring andHayop Ka!).
Films, shorts, and televisions have different types of animation:
Filipino filmmakers and animators have distinctive, visual style of animation that influences cultural art form.
Adult animation has a staying power in the Philippines, serves as a largest turning point to the film industry introduced duringthe Marcos regime under Martial Law by expanding conventional and mature storytelling in Filipino animation with realistic character drama,satirical themes andthematic elements rather than raunchy, off-color and sexual humors used in adult-oriented animated films and televisions that is catered specifically to older audiences unlike any animated works outside the Philippines over the years.
For example, cartoonist Nonoy Marcelo produced a historical satire based on Marcos' book,Tadhana, presents a satirical, humorous and poignant view of the Philippines' history ofSpanish colonization.[55]
Some experimental animated short films have attributed with similar use of satirical, political and mature themes during the near end of Marcos regime, for those including Nonoy Dadivas and Fruto Corre'sThe Criminal (1981), Alcazaren brothers'Hari (1982),Huling Trip (1983) andPagpula (1984), Roxlee'sThe Great Smoke (1984).[56]
Philippine animation covers varieties ofthematic elements, which presents the country'ssocio-political issues, values, mythology, and even folklore. The prominent use of themes in animation stress the importance offamily,friendship,love, andfaith. Other elements that are relatable to Filipinos includingabuse,addiction,cancer,child abuse,death,depression,dysfunctional families,homelessness,nudity,pollution,poverty,sexuality,social issues,suicide,teenage pregnancy, andwar.[7]
For examples, some of the animated short films made by Filipinos likeDoodle of Doom (2007) that shows the special abilities ofchildren with disabilities andLove and Marriage (2008) that presentsracism evolving a struggle of aFilipino-Chinese relationship.[57] In 2011,Sanayan Lang Ang Pagpatay (lit.Killing Just Becomes A Habit) is an animated short film, drew themes ofmurder andmassacre, about thebutiki was crawling on different areas of the house but it turns out after killing the butiki withflip-flops leads to more gruesome ways about the massacre in the past.[7] In 2014,Lakas ng Lahi (lit.Race's Strength) is ahistorical drama animated short film that deals with abuse,oppression and war, briefly expanding each story and timeline from theSpanish colonial period toJapanese occupation of the Philippines.[7]
In 2007,The Nutshack was developed and touted as an adult animated series made byFilipino Americans, marketed for a Filipino demographic, drew themes of gang violence, drug abuse, poverty, racism, and rape.
Early animation in live-action films released in the 1990s were significantly rare at the times. This included the 1995 fantasy short filmThe Short Life of Fire, Act 2 Scene 2: Suring and the Cuckoo (Filipino:Ang maikling buhay ng apoy, Act 2 Scene 2: Suring at ang kuk-ok), utilizedtrick animation orpixilation in some scenes.[58]
In 1995,Isko: Adventures in Animasia utilized traditional animation in some scenes within almost 10 minutes.
Some animated scenes are depicted inAlipato: The Very Brief Life of an Ember, anextremecollage film aboutjuvenile gangsters rob and killed everyone until a failedbank robbery puts them in prison. Animated scenes utilized stop-motion animation.[59]
While some well-known cartoonists in the 1950s and 1980s who are considered animation pioneers, these are some people as animation filmmakers or animators listed below:
Mike and Juan Alcarazen are animation siblings who is known for stop-motion short films with satirical elements in the 1980s.
RecognizedFilipino animator is Benedict Carandang, the co-founder of Tuldok Animation Studios and recipient of the United Kingdom's British Council's 2008 Young Screen Entrepreneur. Carandang produced the animation of Ramon del Prado's short-film entitled,Libingan or “The Burial”, inspired by thehanging coffins ofSagada, Mountain Province.[60]
Avid Liongoren is known for both animated and live-action productions, and founded an animation production company Rocketsheep Studios.[61] He has directed two films:Saving Sally andHayop Ka! (2020).[62]
Carl Joseph Papa is known for adult-orientedrotoscoping animated films, produced three award-winning animation works:Manang Biring (2015),Paglisan (2018), andIti Mapukpukaw (2023). His films have been screened atfilm festivals worldwide and received multiple awards.
Roque Federizon Lee is an animator, filmmaker, cartoonist, and painter who is known as the godfather of young Filipino experimental filmmakers and classics of the Philippine animation and independent film movement of the 1980s.[63]
He directed a succession of experimental animated shorts inSuper 8 and16mm—made both individually and with a revolving cast of collaborators—cementing his mark on the cultural topography:The Great Smoke (1984), Tao at Kambing (Man and Goat, 1984),Inserts andABCD (both 1985),Ink (1987),Juan Gapang (Johnny Crawl, 1987),Pencil (1989), andSpit / Optik (1989).[64]
Clem Arnold Lawrence Arre is a comic book writer who was known for Animahenasyon-commissioned animated short films.
While the Philippine animation came from conventional storytelling and originality in Philippine tradition, the Philippines has become a major hub for outsourced animation work from international studios, such asWalt Disney Animation Studios andBento Box Entertainment, due to its talented artists and lower production costs.
TheAnimation Council of the Philippines, Inc. is the industry association and serves as the primary overseer and coordinator for Filipino animators. The council is a part of a bigger umbrella association coordinated by the Information Technology and Business Process Association of the Philippines (IBPAP).[65]
Rocketsheep Studio is an independent film studio used for live-action and animated projects, founded by Avid Liongoren in 2005. Films and web series are well known in this studio includingHayop Ka!,Heneral Tuna andSaving Sally.[66]
Tuldok Animation Studios is a Philippine non profit organization that produces, promotes, and facilitates animated projects in line with traditional Filipino values, co-founded by Ramon del Prado, Benedict Carandang, Ayeen Pineda, and Toffer Liu.[67] The organization is well known for animated projects includingSulayman.
The First Philippine animation festival was held inPasay as an additional program of the 7th Philippine Graphic Expo of 2002 which featured 3D animation entries fromDe La Salle–College of Saint Benilde,University of the Philippines Diliman andPhilippine Women's University via Artfarm and Animasia.
It was College of St. Benilde's entry,Fiesta Karera that won the festival which was authored by Ervin Malicdem, Dante Tiongson, Mark Ylagan, Jonathan Wongkee, Jefferson Lim, Vincent Cheng, Gerard Cruzado, Justin Teh, and Ace Gatdula.[68]
Animahenasyon, aFilipinized contraction ofanimation andimagination, is a Philippine animation festival established by the Animation Council of the Philippines. Its purpose is to recognize Filipino animators and their original works and has become an institution with hundreds of animators joining every year, with contestants varying from students to teachers and professionals.[8]
Known filmmakers who screened at the film festival with their own animated short films and won the major award in the competition such as Ionone Bangcas and Jerome Alcordo'sSmog (2010) andSulundon (2012), and Carl Joseph Papa'sLove Bites (2017).
Films in Animahenasyon are also among the grand prize winners of the festival. In 2008,Love and Marriage by Kenny Lynn Taiayapa won the grand prize;Mutya (Muse) by Nelson Caliguia Jr. won in 2009;When Alma Died by Richmond Wesley Ruiz Tan won in 2010;Sanayan lang ang Pagpatay by Gil Joseph Sanchez won in 2011;Marianing by Niko Salazar won in 2012;Buhay Kubo by Ellen Ramos won in 2013;Lakas ng Lahi by Arnold Arre won in 2014;GEO byJohn Aurthur Mercader won in 2015; andStrings by Rafael Daniel Evangelista won in 2016.[7]
TheCinema One Originals Film Festival, a division ofABS-CBN Films commonly known asCinema One Originals, is anindependentfilm festival in the Philippines originated for live-action feature films.
Carl Joseph Papa'sManang Biring andPaglisan are the only two animated films to be screened at the festival and won multiple awards including Best Film.
TheMetro Manila Film Festival (MMFF) is an annual film festival organized by theMetro Manila Development Authority,[69] focuses onFilipino produced films.
WhileIsko: Adventures in Animasia is the first hybrid film,Adarna: The Mythical Bird is officially the first animated film to be screened at the festival. Among other animated films who also screened at the festival and won many awards in many years includingDayo: Sa Mundo ng Elementalia (Best Sound, Best Visual Effects, Best Musical Score, and Best Original Theme Song),RPG Metanoia (3rd Best Picture, Best Sound Recording, and Best Original Theme Song), andSaving Sally (Best Musical Score).
The MMFF films are the winners of the festival under New Wave Category:Kaleh and Mbaki by Dennis Sebastian (won in 2013);An Maogmang Lugar by Mary Ann Espedido (won in 2014); andButtons by Marvel Obemio, Francis Ramirez, and Jared Garcia (won in 2015). In 2016, the category was discontinued and short films were partnered with the full-length films.Passage of Life, an animated drama byDe La Salle-College of St. Benilde students Renz Vincemark Cruz and Hannah Gayapa, won Best Work for Children.[7]
I Animate Animation Film Festival is a non-competitive limited film festival founded byFilm Development Council of the Philippines. It will feature talkback sessions with various figures in the animation industry, as well as screenings of Filipino-made animated films and critically acclaimed independent animated films from over the world. Films, with exceptions of non-Filipino animated films, such as Nonoy Dadivas'sJunkzilla (1995) andRoxlee'sSpit (1989).[70]
Over the years, majority of Philippine-made international animated films (both feature and short) and series are largely outsourced by companies in the United States and Japan. In the past years, the Filipino animation industry began to create animations directed to Filipino and international audiences, such asSeven Little Monsters andHazbin Hotel.
Only a few animated films and series, but extensively expanding animated short films, are actually made by Filipinos orFilipino diasporas specifically for Filipino audiences, although the number of films and series produced is still small compared to those produced by Japan, China, South Korea, and the United States.[71] Most of these films are adult-oriented themes and have been released etensively for film festivals.
Most Philippine animated works were considered lost, partially found, or destroyed began in the 21st century, primarilyAng Panday,Sa Pagilid-gilid, andAdarna.
Division of Existence was supposed to be released in December 2017 throughYouTube, but it never came to fruition due to lack of development and updates led to cancellation as of July 2017.
Only the remaining copies of animated features and short films in late-20th century are rediscovered or survived at this point in the late 2010s includingTadhana,The Criminal andThe Eye of the Sky, the latter two were released on YouTube.Tadhana was screened at theNational Gallery Singapore’s "Painting with Light" byMowelfund Film Institute and Archivo 1984 in 2018, thanks to Pandy Aviado, one of the cast members of the film, who revealed that he had the remaining copy of the film shown at live interview.[72][73][74]
[W]e learned from Dolphy thatFPJ is not happy about the ongoing competition between the former's animation series,Captain Barbell on Channel 9 and Channel 7'sFPJ sa GMA.
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