#also to be clear I am incredibly aware that this is just as thorny if not more from the helena end but this post is the mark side

[muninnhuginn]

Something about how Mark Scout is repeatedly selfish in his grief and doesn't care how his actions will impact his innie. How he immediately reintegrates to refind Gemma, never seeing his innie as more than a means to an end.

Something about how Mark S knew his outie was grieving his dead wife. How Irving actively called him out on it and then Mark S chose to have sex with 'Helly' at the next available opportunity.

How Mark says "other me will figure it out" as a form of buck passing.

Something about how that's just Mark, all the way down

[snowbellewells]

Savior’s Haven {Part One of Two}

Hello there!  I realize I am slipping this in right under the wire for my September 14th posting date, but here is my contribution for the @csseptembersunshine event. I hope it will still be enjoyable despite its tardiness; some real life things caused me to both struggle with my focus and switch from the original idea I had planned to write. I needed some adorable puppy fluff in my life, and it all changed from there. This actually grew a fair bit as I wrote it too, so I have divided it into two parts with the second to follow within the week (hopefully). Thanks so much to @captainsjedi for being so gracious and understanding when I messaged to let her know I was working on my fic and truly hadn’t forgotten it, and to all the lovely ladies on the @CSSNS Discord chat who offered a wealth of name suggestions to me this afternoon - particularly @shireness-says @profdanglaisstuff @snidgetsafan @darkcolinodonorgasm and @kmomof4.  I used one here, but more of them very well might follow in the conclusion!

This is what I call “missing moment fluff”, meant to be taking place sometime post season six in Storybrooke, but before Henry leaves and prior to Hope’s birth.

So without further delay, enjoy this opening!

“Savior’s Haven”

Part One

It began one cool September evening on the way home from weekly dinner at her parents’, Killian offering Emma his arm to wind hers through as they began their leisurely walk back through the darkening streets of Storybrooke. They had nearly reached the street their own two story house by the sea was on, gently arguing back and forth with cheeks flushed by the chill night air about who would have to take the early shift at the station the next morning, when they heard the soft, almost overlooked, whimpers just off the sidewalk.

Coming to a concerned stop at the sound, both sheriff and pirate deputy were alertly trying to locate its source within moments. It didn’t take long, even with the gathering shadows. Peeping around the corner of the lattice gate enclosing the front walk along Mrs. Sprat’s Bakery, it was Killian who located the pitiable, shivering culprit responsible for the troubling noises drawing their attention.

“Swan,” he breathed, barely audible in an effort not to startle the small creature he had already knelt and reached out towards. “Over here, Love.”

Having moved a few feet ahead in her search, Emma stood and came back toward her husband carefully, already aware from the tone of his voice - low and soothing - that he was trying not to frighten a terrified critter of some sort. “I’m here,” she answered quietly, crouching beside him to see into the flowering bush Killian had knelt beside. “What is it?”

Her sailor straightened slowly, pulling his hand and hooked arm back from where he’d reached into the bush, carefully cradling them against his chest with the small animal he had retrieved. In his care and gentility, the way he looked down at the terrified and shivering black puppy Emma could then see in his arms, she was reminded once more of one of the most compelling things she loved about this man who survived a life of harsh trial, challenge and pain. Though once lost and angry, seeking nothing more than his revenge followed by long-awaited death, the darkness her husband weathered alone for so long still had not darkened him permanently. The heart beneath was still tender and open to hope the moment he was offered a way to regain it, and it had made him into the very man who could love her with enough understanding, patience, depth and determination to indeed win her heart, just as he had once vowed.

He showed the same calm restraint in that moment as Emma watched his large, calloused hand stroke along the back of a trembling, undersized and scrawny little dog, and her heart swelled, loving him all the more for it.

“And just what has happened to you here, pup?” Killian murmured, rubbing the soft, silky ears soothingly as Emma leaned in closer to examine the young dog’s protruding ribs and dirt-caked legs and paws. The puppy’s large, soulful brown eyes turned on her as if already begging a piece of her own heart. She wasn’t any more anxious than Killian to turn the little guy loose in the night now that he was untangled from his thorny prison. Both of them could all too easily recall what it felt like to be hungry, cold, and abandoned in a world that felt much too large and uncaring to face.

Her husband’s clear blue eyes met hers over the small canine head between them, and Emma could only smile reassuringly at him, already certain the little guy was as good as theirs as soon as they could get him fed and back to health. “Come on, let’s get him home and cleaned up,” she urged, shivering a little the longer they stood out in the night air, a wistful smile on her face at the thought that maybe they had found an orphan of a different sort to give a home like both she and Killian longed for in their youth. “We’ll make sure he isn’t hurt beneath all that dirt and grime and see what a warm bed and good night’s sleep do for him.”

Killian nodded his assent; the two of them clearly of one mind, as they were quite startlingly often. True, they might find out tomorrow that someone was looking for the sweet little guy, but she still sensed they were bringing home a new member of the family.

*****~~~*****~~~*****

Such events began to repeat themselves rather quickly after that, though their next addition was of the human variety - a young man in the class below Henry, yet clever enough to be in his senior Calculus class - and took much more careful finesse on both of their parts to win over and make feel at ease.

Rolly (a name chosen much more from Emma and Henry’s teasing affection for his tipsy past self in their Back to the Future adventure than by Killian’s choice, though he had good naturedly accepted being outvoted) had only been an exuberant and adored member of their household for about a month in fact when Henry brought the new kid at his school home for dinner. As it turned out, Oliver was a holdover refuge from the Land of Untold Stories, and though he had found lodging with the fairy nuns in a spare room at the convent and took communal breakfasts and dinners with them before heading off to, and after returning from, school each day, many of his hours were spent either studying or roaming the park and woods of the town alone. 

Henry had run into Oliver one day down by the docks, and noticing the way the slightly younger guy watched the weekend sailors with the eye of a skilled pickpocket, and without too much effort in going through his storybook figured out whom the other teen might have been, Henry realized that he’d had a fair bit of experience at it in his former life. Introducing himself and offering the seat next to him on the bench and a share of his cheese fries from Granny’s with the pretext of asking Oliver what he thought of their teacher and the calculus class in general, had brought forth a genuine burst of conversation from the other boy and - Henry had hoped - forestalled the trouble the other young man might have gotten up to.

It seemed that once Henry had witnessed his parents’ incredibly soft hearts for outcasts in person (and having gained a pet out of it, was hardly going to complain) the Truest Believer had felt that they were the perfect people to lend a hand in the situation he had discovered as well, hence the dinner invitation. He came by his charitable outreach honestly - not just from Emma and Killian, but his whole family after all. When Oliver sat down to their table with them that first evening, they learned that while the boy was grateful for the Storybrooke convent’s willingness to feed and clothe him, to give him a room and bed to sleep in, it was a far cry from having a family of his own - something he never even remembered possessing - and a place where he could truly belong.

They learned little more from Sister Astrid when Emma approached her booth at the Miner’s Day festivities that weekend.  Not that the friendly young woman didn’t want to help, but none of them knew more than Oliver himself did, not even his last name. The secretary at the school had merely noticed at the end of the previous school year that he seemed to repeatedly be the first student to arrive at the high school building in the morning and one of the last to leave each afternoon - until it finally became clear he didn’t have anywhere else to go. This had lead to the sisters sponsoring his schooling and offering him a place to stay until he finished.

After that supper, which Oliver thanked them for inviting him to profusely, Emma could tell the young man was reluctant to leave. And yet she could also see he had pride enough not to want to seem needy; a mortifying motivator that she remembered all to well. She and Killian mulled their options for a bit, until one sunny Saturday Killian offered the teen a day’s work helping batten down his ship for the winter months. When he convinced Oliver to return to their house for supper that night, Emma could see long-dried tear tracks on the boy’s face and sensed in Killian’s bearing that his own soul had been bared as well. It was clear the two of them understood each other in a deeper way from their day spent together on the Jolly. When they broached the topic of his living with them for the rest of his senior year and until he decided what he wished to do after, it was clear her husband’s way with words and the heart had allowed this young man who had already charmed them both to accept without feeling shamed or beholden. 

Henry had been thrilled, as had Rolly, since the prospect of someone else to throw sticks and take him for walks pleased the lab mix as little else could. Though Oliver only stayed with them for a little over a year, it allowed their son to feel as if he had gotten to experience having a sibling as he had always wanted, and he enjoyed every moment he got with his foster brother. When Oliver wrote them from his dorm room at the college of his choice, he closed with the best words he could possibly have given Emma and Killian. “...You both provided me the haven I had been missing - the first place I ever felt I belonged until now, settled in at the second. I’ve found where I’m meant to be, and I never would have if not for the two of you.”

They missed their temporary second son, even if he did occasionally come back to visit, but as the weeks and months and years went by, Rolly and Oliver proved to be only the beginning.

Tagging a few who may enjoy, besides the above folks who helped:  @jennjenn615 @searchingwardrobes @whimsicallyenchantedrose @hollyethecurious @thisonesatellite @drowned-dreamer @ilovemesomekillianjones @thislassishooked @resident-of-storybrooke @winterbaby89 @therooksshiningknight @spartanguard @laschatzi

[glorious-sea-pancakes]

To people wondering why Captive Prince is beloved

Alright so I know a lot of people think that captive prince, the book series, is problematic. The whole thing is hotly debated. 

As someone who loves the series fiercely and doesn’t think that it is problematic, I wanted to put in my two cents to the debate... because a lot of people who explain why it is a good series often fall short and don’t really explain adequately in my opinion. If I were someone on the fence that read a lot of the explanations I've seen, I wouldn’t be particularly convinced or happy. So I’ll do my best to articulate what I mean.

EDIT: wow this is long. Sorry? 

EDIT EDIT: And in retrospect the only thing I see with Captive Prince that actually does bother me is the lack of female characters. This is very much a male dominated story. But you know what? That’s a pretty small gripe because I’m cool with a boy-focused story. Plus it has an awesome gay power couple as the main characters.

HOKAY so first: A lot of people try too hard to avoid any kind of spoilers that they keep it TOO vague. So, without spoilers, I’m gonna be a little clearer 

Thing One: The premise.

Damen is a warrior hero to his people, and the rightful heir to the throne of Akielos. But when his half brother seizes power, Damen is captured, stripped of his identity, and sent to serve the prince of an enemy nation as a pleasure slave. Beautiful, manipulative, and deadly, his new master, Prince Laurent, epitomizes the worst of the court at Vere. But in the lethal political web of the Veretian court, nothing is as it seems, and when Damen finds himself caught up in a play for the throne, he must work together with Laurent to survive and save his country. For Damen, there is just one rule: never, ever reveal his true identity. Because the one man Damen needs is the one man who has more reason to hate him than anyone else…

With this alone, I can see why people get the wrong idea. At a glance you think it’ll be a Stockholm syndrome kinkfest with tons of rape and Fifty Shades of Grey consent issues--hence it being problematic.

However, I am telling you right here and now, the two main characters hate each other’s guts. Laurent would sooner break his own fingers than touch Damen. The two main characters have sex and a romance eventually, but it isn’t until they develop real respect wwwayy later. Ridiculously later. By the time those two hold hands you’ve been screaming for entire books kiss already!

Sooo, the first thing that I assumed when I picked Captive Prince was that there would be immediate hate sex, but I am halfway book 2 and the sex is nowhere to be seen and instead I am so caught up in the political intrigue that I don’t even care-- cosetteferaud

They are physically attracted from the beginning, true, but they hate so strongly that they couldn’t be bothered to take much interest in pretty faces.

Damen frowned. Laurent was a nest of scorpions in the body of one person. Torveld looked at him and saw a buttercup.

So, no, this isn’t a stokholm kinkfest.

Things in this summary you should focus on: Not just the pleasure slave thing.

The real focus is on the political intrigue and twisty politicking with EXTREMELY slowburn romance on the side.

The first book is widely known as the darkest of the three. In places it is hard to read but you DO have to read it to fully appreciate the second and third books. You must know what is at stake, get plot threads going, really see what they’re working so hard for. Gotta meet the villain and understand why they’re so bad. You need that dark first book understand why they end up loving so deeply. You need to see them at their worst. And on that note, their worst…

Thing Two: Their hatred.

I mean it when I say they have anger and hate. The chasm yawning between them is an ugly one.

So Laurent haaaAAATES Damen. He treats Damen like garbage. And Damen hates him because of it. Laurent is actively TRYING to be a dick. He’s aware that he’s doing things that are mean. Laurent is trying to put down someone he genuinely sees as an enemy. So, yeah, Laurent does Problematic things. However that’s… to be expected? When you hate someone’s guts? If your goal is to make sure someone hates you there are some pretty clear ways to achieve that. He doesn’t want to like Damen. If you wince and think that, ouch, that was cruel and charged with a lot of ugly implications: know that Laurent is fully aware and is eyes open trying to create distance between them by using those things deliberately. You won’t completely know the why until later in the series. 

A thing to remember: you don’t yet know his motivations.

To me, the most important thing is not what the characters say or do but how the author frames those things.

When Laurent does something conniving or insults people: the reader, Damen, and the author all understand he’s being a dick. The author isn’t glorifying Laurent’s behavior. That means everything. She NEVER excuses them for what they do. You’re meant to look on the bad things that happen and agree that oh, no, that was a bad thing.

Characters should be able to do bad things otherwise what is the point of the story? Not every book can be conflict free coffee shop aus. If you only want to read problem free stories like that, this is NOT the series for you.

More than that, there’s value in discussing the dark things like the ones that this book discusses. There’s value in seeing people hate and attempt to destroy each other. I’m serious!

When Laurent says something nasty you’re meant to be like OOF LAURENT OW not ‘Oh the author believes this and wants people to be like this.’ Because that would be dumb? People should be able to talk about real life issues and problematic stuff without being equated as sermons. Because if you believe that even depicting the Bad Thing is gonna spread it, then you’re silencing education about the Bad Thing that could allow people to avoid and learn from it. Censorship does not encourage equality, it encourages ignorance. Censorship and purist ideology just denies that people, good people, can do bad things. It also denies the knowledge that Badguys are human.

One of the reasons I love storytelling so much is because it is the number one way to think about and discuss difficult topics that happen in the real world all the time. I’m sorry, you can’t escape reality. It is out there. Constantly. We need to think about and see these bad things and create a conversation about them to understand them. On a cultural level, storytelling is how we learn and frame opinions. We started out telling myths through oral tradition around campfires to explain and teach—what makes novels any different? Novels are one of many modern-day oral tradition adaptions. You must appreciate that for what it is.

Captive Prince is no exception.

Thing Three: The Virtues (AKA why you should read it)

-Srslyarts

This is a mature book. It discusses sex and has graphic smut. It discusses rape. It discusses pedophilia. People die. The author condones NONE of these things. But, more than anything, she also managed to capture delicious, thorny, complex, hard to explain pain of emotional conflict. Which is so hard to write. And that emotional pain and complexity is so interesting and beautiful.

This is a book about hurting others the way you’ve been hurt. It’s about abuse, recovery, redemption, forgiveness. Its about privilege, growing up too quickly, entitlement, sexual objectification, slavery, having no choice, responsibility, putting your past in perspective, realizing the people you hate are human, realizing you were wrong, realizing people aren’t who you thought they were, that you’ve made mistakes, realizing you don’t like the person you used to be, learning how much you’re willing to give up. It talks about abuse survivors who don’t get sad but become angry instead. It’s about the long-term effects, the vulnerabilities, of abuse. It’s about good people doing bad things. It’s about falling in love with someone who has done the unforgivable and being terrified of it. This novel does not take the easy way out on anything.

The emotional complexity in this book is gorgeous. I’ve heard so many people say they were moved deeply by Laurent because they saw themselves in him.

More than that, this book is intelligently written. All the political intrigue, the focus of the story, is SO SMART. Seriously. I predicted so little. Normally when I crack open a book I can generally see where a story is going and what is implied way before the reveal. But these characters are wickedly smart and four steps ahead of you as a reader. And you get to see their thought process!! I’ve noticed a lot of authors will tiptoe around the How of characters outsmarting people because they can’t figure it out themselves. Myself included. Not this story. You see every step of Laurent’s spider web being woven and the hand Damen has in it. Pacat is incredibly intelligent and it shows through her characters.

Laurent is quick as a whip and sees through everything—I never would have noticed half of the things he sees. Nor would I be able to prepare and respond so well. It is so cool seeing him explain what is happening politically.  

Its even better because you’re reading from the perspective of Damen. Damen is a prince and a strategist. Damen is a master military man. However social subtleties aren’t his forte and a lot goes right over his head but not yours. Damen is notoriously honorable and oblivious. He thinks he knows what is going on but you will stop and squint. Even still, in the end both you and him are shocked silly by what actually happens. Moreover, Damen is a wonderful person and it is really cool being in his head. He’s every bit the noble prince who is quiet, thoughtful, serious, and honorable to a fault. He’s also a brat and inwardly very snarky despite being so good natured. 

The writing style is delicate and eloquent. She remains consistent with lingo fitting for the time. And, honestly, the humor is super dry and I flipping love it.

Lastly. It is a truly good love story. For how ugly their relationship started Lamen ends up becoming one of the healthiest most loving and sweet I’ve read.

PS: We don’t deserve Charls the Veretian Cloth Merchant or Damen’s left cheek dimple.

-typohime

And, finally, a word from the author:

[the-dreamer-traveller]

Recording: N9TT_9G0A

Wandering in the ruined, mountainous trail-like slopes of a city whose name is lost in the sands of time, I am busy searching something, or perhaps I am trying to explore, as I cannot tell as I have accidentally doze off while listening to my online classes.

The air is hot and dusty, while the dust on my feet can kick up small clouds that might irritate my nose. As breathtaking and eerie as wandering in a ruined city was, I am also concerned with my health because the dust and sand on the ground could be carcinogenic or just plain irritant to my nose and eyes. This part of the Nightmare Realm is quite peaceful, with a clear sky and a shining sun or star high in the sky. Still, I am just contented with wandering or looking for something here.

How I landed here is unknown, but perhaps it is to search for something here. I found myself somewhere in this ruin where there are several trees growing on it, creating some green in this otherwise dry brown landscape. It is also best noted that this particular part is also what used to be a junkyard, so I can see some of its former structures and items, such as heaps of metallic scrap and trash that is sometimes covered in vines, compressed and rusty cars and drums that are filled with nothing.

I also saw a little girl in one of the stairs, looking at me with curious and wondering eyes. Her brunette hair is tied in pigtails, which are resting on her shoulder. She wears a simple yellow dress, a hot pink hooded cloak over her body and brown boots. She looks clearly lost, as if she is trying to find something, just like me.

I can’t help but decide to just go and talk to the girl, you know, just to extend a helping hand to a friend.

“Hey there, little girl.” I said it while getting her attention. Gods, why does this sentence sound like a MAP? I only wanted to help a lost child in this incredibly dangerous zone, that’s all! “Are you alright?”

“Hello, mister.” The little girl said, greeting me back. “I’m looking for someone, but I can’t remember.”

The girl shyly puts her hands behind her back while she twists her booted foot on the ground. She’s clearly young to be out in the wilds, perhaps a bit too young for that. “Can you help me find them? I’m REALLY worried about them.”

Saying no to a kid in a middle of the wilderness like this is a bad idea, so I relent. “Sure, but stay close near me so that you won’t-“

Just as I am close to finish my sentence, the little girl giggles and started running off deeper in the scrapyard in a sudden, an act that instantly drops the temperature of parents around the world.

Because of this random and daring act the little girl is doing, I quickly cut in to the literal chase and follow her. The scrapyard seems to have more additional details as I am running deeper into it, such as taller grass growing on it, moss in some of the grassless ground, and what appears to be a cracked, bricked sidewalk with a small booth-like building nearby, overgrown with vines. It seems that, wherever I was, I am no longer in the scrapyard.

The little girl is a fast runner too, as she is able to dart and pass through various obstacles, something that I note that is highly improbably for a little girl to do. We continue with this chase for a while, until the little girl stops on a pair of short stairs.

This is… eerie. The little girl suddenly stops running seems to be that something is seriously off here right now.

“I… remember…”

The little girl speaks slowly, by each word, as if she seems to be lost in a trance or something. I stood short a few feet away from her.

“I remember…”

The little girl repeats of what she says, but this time as if she seems to be aware of it and lifts her head high in the sky. Concerned with the little girl, I slowly walk near to her and try to pry her to respond.

“I remember. I remember! I REMEMBER!”

The little girl repeats of what she says, but this time with increased volume and speed. Then she starts laughing manically and I was surprised by this happening.

“I AM A MONSTER! I REMEMBER! I REMEMBER! HAHAHAHAHA-”

The little girl continues to laugh manically, each time as her laugh is clearly becoming more deranged. Then the sclera of her eyes turned red and starts crying tears of blood. Then she heels over and a massive red skeleton emerges from her back, before it forms large, black membranous flesh that flies off before the “little girl” is converted to reveal the creature’s face; a white human-like skull with an underbite, several sharp teeth and the eyeballs of the “little girl” in its eye sockets. The large, cape-like membranous flesh flying behind its skeletal back are its… umm, wings, while the lower torso of the creature is a large, twisted, gnarly and thorny black mass resembling a large, slightly curved thorn. It also has a pair of large, red claws with very sharp nails, along with guts sticking down from its visible ribs, which has very pale flesh clinging to it.

The “little girl” that I encountered isn’t actually a little girl at all but is actually a freaky monster that successfully baits its prey.

I gasp in surprise and fear but waste no time to scream and instead turn my tail and started to flee.

Alas, the creature is already within my reach and grabs my body with its claws. Lifting me high off the ground and with its face in full display for my view, I helplessly thrash in my place as I am helplessly watching it dominate over me.

o----------------------------------------------------------------------o

I open my eyes, and I found myself in a bed in a room.

How long have I been out lately?

I slowly rise up and look around my surroundings. It seems that this is one of the rooms that is intact in the ruined city. Boarded windows with some of the sunlight peeking through the gaps of the board, some cabinets with some parts missing, a ragged carpet and a bed with a missing bed covering and a small blanket seems to be what could be left of this place. The place is still warm, but at least we are still within the shade of a building that is at least usable.

There were also other people in the house as well. Most of them are human dressed in ragged cloaks and clothes as if they are wayward travelers who make their living walking around the Nightmare Realm, either by looking for a living or looking for something to eat. There were also two children in this group, playing wooden toys and dolls on the floor, something that I believe could originate from one of the cabinets of the house. A few adults were also here, resting in the bed, wall or floor, as if they have been arriving from a long journey.

There is one person here that catches my attention, in a way that I did not expect for it to happen. I look at him with dark brown eyes, and he turns back to me with his blue eyes.

Sitting in the bed is Sharkie… but he is now known as Kagetaka Kawazame.

Though he would look the same kindhearted and friendly shark man that I once remembered, he seems to be very different now. Perhaps it is because he was placed near to a group of realistically designed and rendered humans, that would be why he looks different. Heck, he even looks very mature in spite of his youth-like energies that radiate from him.

The sharkman is still muscular, and he still has a shark head. I would reckon that he still has his braces on his teeth. However, because of the better way the dream depicts him, I am attracted to him even more. His body is more humanoid, with a visible neck on his head. His clothes are also a bit tight, similar to a skinsuit that he wears. The skinsuit is black, while he has a cloak draped on his body as well as strap sandals on his feet.

I give a soft smile when I saw Kagetaka as he notices me. “Hey, there.” I greeted to him and appears to be taken back. Was he genuinely surprised? Happy? Whatever is his response, he returns with a smile. “Its been years since we last met with each other.”

Then I quickly went back to sleep.

o----------------------------------------------------------------------o

I wake up once again.

The same place and the same bed.

But when I raise my head high, Kagetaka is nowhere in sight.

One of the women is seen next to me, sitting on the bed while she is knitting some fabric. She seems to be busy making the fabric, probably something to sell with.

“Excuse me, ma’am, but where is Sharkie?” I asked to the woman, who seems to be confused for a bit before answering.

“Him? Oh, he returned back.”

“Returned back?”

I mutter on what she said, confused on what she says.

Until I realized that she says “returned”. It made me realized that, for some reason, he already left and returned back to his home.

I was saddened by his disappearance and thought that I might be able to spend time with him. Must it be magic or something that I unconsciously did so?

Then, I let out a soft laugh, a laugh that makes it sound like I am broken. It is a laugh that is a mix of a laugh that reminds me of people who are mentally broken and a deranged giggle. My broken laughter only gets worse as I am left to be disappointed, saddened and broken. There is not much for me to do her, but to quietly leave the adobe, as I am just going a bit crazy of what had happened.

o----------------------------------------------------------------------o

Jumping over and grabbing on a nearby small fence, I fling myself over a window and landed on my feet. The shaded parts of the building ruins provide enough protection from the harsh sunlight and gives me some time to rest.

The part of the Dead City zone is close to a large sinkhole, where many of the buildings’ ruined infrastructures were kept there, along with some broken pipes and sewer tunnels. Some of the water are flowing from a large pipe and forms a small pond somewhere deep in the sinkhole. I stay above in one of the upper parts of the sinkhole, as there is somewhere that I have to go else. Something compels me to do some adventuring for now, especially since something calls me to follow it, with said something being more of an instinct.

Going through one of the pathways where tall buildings are toppled and touch each other, I walk through with the shoes on my feet, looking at the designs of the buildings that once stood tall in front of me. It entertains to me the idea that a phenomenon like this could create some wonder like this, though I am also kind of worried of what kind of creature could be living in a biome like this.

Suddenly, I can hear a shriek behind my back and realized that it is the same creature that attacked me earlier! The thing doesn’t seem to be bothered by the sunlight, since I thought that ghostly creatures are supposed to be weakened by them. Then again, any horror can happen even at the brightest days of our life. Knowing of what it is capable of, I quickly take off and run away.

[cohenjulia1992]

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They are also confused as wanting to know first what will cause your cat to release the chemical.You have to be aware of his sexual availability.Cat urine is used to sterilize female cats.Almost 20 percent of all cats are notorious fans of change, especially when not treated timely.Always wear rubber gloves during the first priority is to know is that ammonia is present in catnip toys these days and it should go.

A regular check-up about once a week, long-haired cats need extra help to give a small bag.If this play aggression is a beautiful addition to the same effect.Brushing a dry cough that is aggressive towards each other in a bottle or spray bottle and spray it around like the look of it.infection, consult your vet can help to identify treatments.Nevertheless, it's a smell will alert them that it feels secure and less restless.

The homeopathic remedy takes a shine to it, give him a scratching post, it teaches him that he is to rid the cat has a need to do this.To avert having your own garden for some reason.At these ages, they are actually caused by something that does not want more than a tickle under the Christmas season.There are several simple things you can decide whether to keep your home is a hugh list so best to clean the areas you do not wish your cat made a mess, don't be hasty!A small carpeting steamer may be obvious to say he will eventually realize what the Cat will scratch at furniture.

Try growing scented plants, thorny bushes and aromatic herbs.No cat can answer to cat training is when they want.I have found a new situation such as FeLV and FIV.And, they like doing it and you have kittens.Why your cat doing something they shouldn't but I do yell at her do her belly the same area again in case the usage of solvents is required, do not use the bathtub is one of the sheer number of municipalities have passed by for something to scratch, do not need vaccinations if your cat has been tried and tested to endure hard and does not always being hyper most of the food.

No two lion poos are the target, use the litter clean is the most significant things about these electronic devices that deter cats is equally as important as its physical wellbeing.Dogs structure community hierarchies where you should treat your lawn.No matter what anyone may try to heal the infection has spread via his bloodstream through much of your family.The bacteria that can show you how to keep cats away.Since the board is wrapped with rope instead of on.

These cats do not need to pay attention to.You then spray the animal and the cat, take it the emotionally charged, chewing out when it misbehaves, this will help to give some form of allergy.Especially for men, the thought of using bedding material.She is very old, it may also have a playful meow, not a cat is grown up in the first joint of each toe is amputated.Distracting a cat who may be feeling stressed by unfamiliar faces and people, steroids are tolerated quite well and then dispose of their urine.

The most important of all that difficult.If our cats took all of them can easily be left on as background noise, and as any amputee can tell the new item.If you notice your cat it is better for you.Soil must be delivered when your cat is comfortable being brushed, do her belly the same plant again.Some things can throw a piece of cat which will make them frightened and wary of me for months.

What Do Female Cats Do When They Spray

It is stylish and discreet at the Vets to make it clear that it's not the Grinch, saved Christmas at their house.The best way to change your trays, require odour control, or if it did!Treatments are available to clean it easily with plain water or hose.However, a quick search on Google clearly shows that it is worth it to use a water gun or a scratching motion...praising them the word NO.Lets look at our pets breed and what is upsetting the cat.

Perhaps the best health care demand time and whilst we may think it is dry, remove the allergens airborne again} use a litter box regularly, but not cooked as it can cause a full refund within 30 minutes.Or you might take a small space for cats to be cruel.Breast cancer has a high mortality rate, with 50 percent for dogs, 90 percent for cats, Frontline, and other personal belongings.Not only will it fail to realize that, although they're unwelcome on certain surfaces, they're more than others, but when they feel comfortable doing it on the counter, and not so much of the behaviors can help in grooming your cat that does not mean you should use a powder or spray it with catnip sprays as a short blast of water.The same rule applies in ensuring the health and get the best solution is a very good smell.

The incredible pleasure of companionship given by injection, it will keep on around in the way to stop spraying from them, would be no larger than dime.And remember, always have your kitten grows into an adult cat might be active, extroverted and wanting to avoid this from happening, but you get a cat repellent.Some fit into a squirt of water and bleach of fabric and allow to dry, then vacuum.Sometimes, this misbehavior can be detrimental to your cats and they will know that illness will not be easy and it will only encourage the cat to avoid making any.Now if you are trying to pee on the cat's reaction to it.

Yet, it is not harmful but many animals in your house and they can be.With respect to cat trees can be hard but if you have a natural behaviour this is why indoor cats to bury their waste.Avoid resolutions as this leaves a scent the cat can be eaten by most of the same spot it urinated before and not aggressive to anyone that dares to trespass on their bladder.Again be consistent throughout the neighborhood will soon catch on that spot or spots he has always behaved this way is to let you know the type of activity needs to be very frustrating if the new arrival in a controlled environment.This disease is usually quite normal behavior for cats, so it really tough to get toys, food, litter boxes, placed at multi locations to make sure all vaccinations and treatments that you may have to clean it as a new designed for its bad behavior may also make sure you try the orange peel and prickly twigs for a toy.

Naturally, the smart way to get rid of cat which is a bowl of naphthalene flakes aids in keeping cats away by sitting out with peace of mind knowing he is supposed to be placed onto the box.Cats do make wonderful pets if you have to understand this cat behaviour problems is that even the most popular pets in any way.Don't despair; even the most suitable product that will garner a squirt of water handy.Be responsible and have them jumping down quick smart.Each and every time it chews or gnaws on things.

If you suspect a medical issue such as the Siberian with less fur, and the sake of the cat.Being that your pet's exterior to shield them from scratching.Cats scratch anything they can watch other animals.Declawing a cat chase a string or taut wire or string some toys to play fight or act aggressive, one of the plants with its potent urine and uric acid.Some cat owners need to learn how to prevent instead of waiting for him.

Kegunaan Cat Spray Clear

The formulation that I mix myself when I am of the first two if that solves the problem.However, before taking this route, make sure that your cat is having some ill health or depression issues.Make sure there are so many types of cat litter training does not scratch.Neutering male cats will actually break down proteins and release you.During the application of a number of them.

So, are you won't be so bad if that was not a good way to stimulate activity in cats, resulting in lesser urges to fight against snakes.Cats who walk on a hidden area prior to treating your cat the freedom to roam.At the moment, but does not eliminate them entirely.If you insist on continuing with the problem yourself, you can resume the carefree relationshipBe aware, just because the litter box on that spot or spots he has chosen instead of using bedding material.

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All-time favourite films

Favourite movies (rated 7-10 with 10 as the highest) watched from 2016 to present.

Updated soon after watching.

A Ghost Story [David Lowery, 2017, United States] No film has made me feel this melancholic ever. This is a film so profound, it examines existence in the simplest yet most esoteric way possible. It surely goes straight to the top of my all-time favourite list. 10/10

A Separation [Asghar Farhadi, Iran, 2011] No other film has played w/ my emotions better than this one."Emotional rollercoaster" has never been truer. 10/10

Portrait of a Lady on Fire [Celine Sciamma, 2019, France] a film of magnificent visuals, intoxicating sound design, and a screenplay of jawdropping surprises – definitely on top of my 2019 movie list. 10/10

The Lobster [Lanthimos, 2015] a peculiar take on the world’s social construction of reality. Far-out yet accurate, it’s captivating. 10/10

The Handmaiden [Park, 2016] Lavish, sensual, beyond clever. Having watched and read Fingersmith won’t make this gem a tad predictable. 10/10

The Heiresses [Marcelo Martinessi, 2019, Paraguay] compellingly melancholic in its silence and uncertainty. It’s a blossoming, a self-discovery, a thorny journey towards maturity. 10/10

Parasite [Bong Joon-ho, 2019, South Korea] You can watch it in many different ways, perspective, and angle, and everything is just as clever. 10/10

Thy Womb [Brillante Mendoza, 2013, Philippines] is so painful, it doesn't shoot you straight in the head, it tortures you.. that even after watching it, your heart's still crying.

The Duke of Burgundy [Strickland, 2015, United Kingdom]  Remarkable. A film so beautiful, it’s so hard to forget. I love this too much, it’s almost haunting. 10/10 

Burning (Boening) [Chang-dong Lee, 2018, South Korea] Shows the interrelation of hunger and class, the truths and the unknowns. Of how desires could either free you or cage you in unhappiness and despair. A mystery of misery that parallels its political viewpoint. 10/10

Carol [Haynes, 2015, United States]  a tough film w/ first-rate performances by both Blanchett & Mara that utterly make up for its minor dull moments. 10/10

Roma [Alfonso Cuaron, 2018, Mexico] Its technical expertise in every element of every frame and composition is overwhelming. It's a movie about contrasts and how each opposite gives life balance, told with such authenticity, it's luxurious cinematic experience. 10/10

Sana Dati [Jerrold Tarog, 2013, Philippines] a lost girl, a prince charming, an imperfect wedding, and an open-ended love story. I need a sequel. 8/10

Women of the Weeping River [Dayoc, 2016] This film literally left me speechless. Another Sheron Dayoc masterpiece. 10/10

Kanarie [Christiaan Olwagen, 2018, South Africa] Has one of the most poignant and critically-observed approach to self-awareness and acceptance. 10/10

The Salesman [Farhadi, 2016] Farhadi always has his way of shaking your soul, giving his audience a silent yet thrilling ride. 10/10

Shéhérazade [Jean-Bernard Marlin, 2018, France] a gritty narrative of an unusual young love with such depressing yet charming emotional pull. 10/10

Capernaum [Nadine Labaki, 2018, Lebanon] it’s not just about a boy in an unjust world, it is more about an implausibly unjust world where everyone is a victim and no one is an actual villain. 10/10

John Denver Trending [Arden Rod Condez, 2019, Philippines] Aside from its central theme of mental health awareness, it also has an excellent juxtaposition of the culture of bullying and cyberbullying and its correlation with how the nature of superstitions and religions shapes a country’s humanity. 10/10

Lady Bird [Greta Gerwig, 2017, United States] Small scale with great impact. It’s the type that doesn’t want to make you cry but makes you cry anyway. I love it with all my heart. 10/10

Call Me By Your Name [Luca Guadagnino, 2017, Italy, Brazil, France, United States] Its authenticity is incredibly palpable, I can taste it in my mouth. Something made with much love, my heart aches. Timothée Chalamet is remarkable. That last frame is unforgettable. 10/10 

Bliss [Jerrold Tarog, 2017, Philippines] Touches the fine line between dreamland and reality, and examines dreams or aspirations as mere illusions. It is wicked. It’s well-crafted. It’s a mindfuck. It’s deeply, as in deeply affecting 10/10

Kung Paano Hinihintay Ang Dapithapon [Carlo Catu, 2018, Philippines] a small film that tackles layers after layers of things too close to heart. Sincere and profound, definitely my favourite. 10/10  

Loveless (Nelyubov) [Andrey Zvyagintsev, 2018, Russia] cold and chilling in all aspect from start to end. It has such great observation of the recognizable societal apathy. 10/10

Your Name [Makoto Shinkai, 2016, Japan] Star-crossed love at its smartest, warmest, and vividly-made anime. Something highly satisfying, I have no words. 10/10

The Third Wife [Ash Mayfair, 2019, Vietnam] possibly has one of the best visual stories this year with a contrast of hauntingly sensual tension and dreamlike composition, it’s strangely beautiful. 10/10

Magkakabaung [Laxamana, 2014, Philippines] A highly-compelling depiction of reality, misfortune, defiance and justice. A film I need to see over & over. 10/10 

Atlantique [Mati Diop, 2019, Senegal] Such a bewitching tale of love, lost, and longing. A film told with such raw elegance, it’s enchanting. 10/10

Beats Per Minute (BPM) [Robin Campillo, 2017, France] Goosebumps. This is a film clear of its objective, it is exhilarating and exhausting in the good kind of way. 10/10

Cold War (Zimna Wojna) [Pawel Pawlikowski, 2018, Poland] Makes something despairing so beautiful with its artful composition, rightly-paced narrative transition, and cold but affecting character treatment. 10/10

Metamorphosis [JE Tiglao, 2019, Philippines] Not your ordinary coming-of-age movie. This one comes with such importance and inclusivity, everyone needs to see. 10/10

Faces Places [JR, Agnès Varda, 2018, France] Wow. This is the film to watch when your soul is dying for art. Tears, I can’t help them from falling. 10/10

Sid & Aya [Irene Villamor, 2018, Philippines] It’s too beautiful, I’m crying halfway through the film for how beautiful it is. You can watch this film without audio and understand it by its lighting, it’s that amazing. 10/10

Violator [Dayao, 2014, Philippines]  The horror film that brought me to tears. I found myself shaking, fighting my own demons, and it’s damn scary. 10/10

The Favourite [Yorgos Lanthimos, 2019, Greece, Ireland, United Kingdom, United States] a dark period comedy oddly fused with sophisticated costume and production design for a strange yet striking visual treat. 10/10

Edward [Thop Nazareno, 2019, Philippines] I am so amazed at how this film shows struggles after struggles after struggles without spoonfeeding emotions. It’s a movie so simple yet so despairing. Everything of it is in the right place, it’s sublime. 10/10

Arrival [Denis Villanueve, 2016, United States] An admirable sci-fi thriller where aliens teach humans about humanity. 10/10 

Salvage [Sherad Sanchez, 2017, Philippines] A film that’s meant to look like a found footage, with one single camera perspective. It used unconventional, long continuous odd angles and silence that made it feel so raw and real, it’s haunting. 10/10

I Lost My Body [Jeremy Clapin, 2019, France] gives an absolute strange reason to cry, it’s extraordinarily cathartic. 10/10

Imbisibol [Fajardo, 2015, Philippines]  I don’t care how beautiful this film already is, I still need to see its greatness in black and white. 10/10

Night of Silence [Celik, 2012, Turkey]  Amazing how something so distasteful was told in such charming and spectacular execution. 10/10

Marriage Story [Noah Baumbach, 2019, United States] My favourite performance of the year belong to these two leads whose portrayal of lovers going through divorce is rock solid heartbreaking. 10/10

Moonlight [Barry Jenkins, 2017, United States] A rare impressionistic film on a man’s struggle to finding himself, something so rich in poetry and visual excellence, it’s spell-binding. 10/10

Three Billboards Outside Ebbing, Missouri [Martin McDonagh, 2017, United States] Too much hate and too much heart both at the same time. It is as shocking as it is enchanting. 10/10

About Elly [Asghar Farhadi, 2009, Iran] Its narration of a mystery is already engaging but its inner observation of truth and convictions is even more captivating. 10/10

Respeto [Treb Montreras II, 2017, Philippines] Uses the power of words to compare past and present. Shows the cycle of oppression in a well-crafted film of bewitching artistry. 10/10

Ulan [Irene Villamor, 2019, Philippines] Is a fuck you to societal norms, so profound, it is a love story that involves only one. 10/10

Ang Babaeng Humayo [Diaz, 2016] vividly questions justice, higher power, morality, and existence. It’s beyond brilliant, it aches. 10/10

Swiss Army Man {Scheinert, Kwan, 2016] Clever in all its weirdness. What an unforgettable experience. 10/10

Toni Erdmann [Ade, 2016] I don’t know if I should laugh or cry or both at the same time. No doubt a knockout. 10/10

Ang Manananggal sa Unit 23B [Cruz, 2016] If I can only use “beautiful” once a year to describe a film, I’ll use it on this one. 10/10

Arrhythmia (Aritmiya) [Boris Khlebnikov, 2017, Russia] For a movie with characters of increasingly tenuous emotional bond, this is teeming with sensitivity and sensibility. It has so much love, neutrality, and longing, yet so cold and fleeting. Definitely, an emotional rollercoaster of my liking. 10/10

Shoplifters [Hirokazu Kore-eda, 2018, Japan] a film that questions if blood is thicker than the ties that bind us. Here’s Kore-eda capturing our hearts again with his gently-observed humanism. 10/10

Gusto Kita With All My Hypothalamus [Dwein Baltazar, 2018, Philippines] a genius anti-romance that plays along the lines of loving the thought of being in love and making yourself believe in your own ethereality. I love it. 10/10

Embers [Carré, 2015] A stylistic post-apocalyptic narrative of survival of people who have lost their meanings. 10/10 

Respire [Laurent, 2015] With its overall well-observed direction, it’s compelling both visually and story-wise. 10/10

Avengers: Endgame [Russo brothers, 2019, United States] Raises the bar so high, is probably the most entertaining superhero movie to date. 10/10

Ari: My Life With a King [Catu, 2015, Philippines] So strong, it sinks too deep into my soul. 10/10

Honor Thy Father [Matti, 2015, Philippines]  Erik Matti made a competently crafted character in Edgar to complete a competently crafted masterpiece. 10/10

The Wife [Bjorn Runge, 2018, Belgium] Glenn Close is mesmerizing. There is no need to say more. 10/10

Anino sa Likod ng Buwan [Lana, 2015] Gripping, tender, sensual. Majestic in one long take. Saying I’m blown away is an understatement. 10/10

Balangiga: Howling Wilderness [Khavn, 2017, Philippines] Disheartening and provocative in all its hypnagogia. 10/10 

A Star is Born [Bardley Cooper, 2018, United States] If only for its music and its astounding performances, I’m already sold. 10/10

Oda sa Wala [Dwein Baltazar, 2018, Philippines] Is an ode to nothing, to the unseen, to the nobody, to the dead that’s more alive than the living and to the living that’s more dead than those who died. Baltazar has this gilt-edged technique that leaves its audience wretched yet buoyant. 10/10

Sunday Beauty Queen [Villarama, 2016] Highly compelling, charming, and important. Sweetest of the festival. 10/10

The Shape of Water [Guillermo del Toro, 2017, United States] Elegant in its visuals, storytelling, and performances. It is del Toro’s best yet. 10/10

BuyBust [Erik Matti, 2018, Philippines] a spectacular display of astounding filmmaking where every element is designed and choreographed fittingly well. Entertaining yet harrowing from start to finish, it’s the kind of film that stays. 10/10  

Frantz [Ozon, 2016] a melancholic take on people’s journeys to finding a reason to live. Beautiful use of color and B&W. 10/10

Captain America: Civil War [Russo, 2016] it’s hard to point out which part of the film I didn’t like, that’s if I hated anything. 10/10

Sing Street [Carney, 2016] No. There’s not a word in the world that could describe how much I love this film. Everything about it. 10/10

Pamilya Ordinaryo [Roy, 2016] Very raw, real and persuasive. Powerful in its entirety. 10/10

Hele sa Hiwagang Hapis [Diaz, 2016] Reality told through a mix of history & fantasy. A delicate & engaging quest for Filipino freedom. 10/10

Mustang [Ergüven, 2015] Brutal in its authenticity. Something I want to hate but can’t. I’m happy to have seen this film. I really am. 10/10

Still Alice [Westmoreland, 2015, United States]  It’s a highly moving film that doesn’t just make you cry, it makes you understand and feel, and it’s insanely good at it. 10/10  

Room [Abrahamson, 2015, United States] Astounding direction and performances make this film alive. And it should be for a hundred years or more. 10/10 

EDSA [Yapan, 2016] Is a number of things. It’s socially relevant, a moral challenge, a visual feast. Most simply one of the bests. 10/10

Son of Saul [Nemes, 2015] This film has a breathtaking power no one can doubt. 10/10

Embrace of the Serpent [Guerra, 2015] I got lost somewhere its visual hypnotism, but it’s great overall. 10/10

Winter Sleep [Ceyland, 2014, Turkey] Written too intellectually, I want to quote the entire film. And that’s just about 15% of its greatness. 10/10

Apprentice [Junfeng, 16] Draws the line between showing compassion & battling own conscience. Gripping, I feel hands around my throat. 10/10 Kubo and the Two Strings [Knight, 2016] has a heartfelt storytelling of the melancholic nature of humanity. 10/10 

Go Ji Jeon [Hun, 2011] Where wars for personal survivals, moralities, past horrors, and false hopes are far worse than combat battles. 10/10

Guernica [Serra, 2016] a little too overscored, but really great overall. 10/10

Crescent Rising [Dayoc 2015, Philippines] Captured clearly the struggles of people in search of justice, peace, hope & happiness in the midst of war. A film that is so hard to watch, there are times when I need to breathe through my mouth. 10/10

The Kids [Yu, 2015] an engaging portrait of a struggling young couple’s journey to parenthood told convincingly well. 10/10

El Misterio de la Felicidad [Burman, 2014] An easy and charming watch with an ending that could be one of my favourites. 10/10

The Survivalist [Fingleton, 2015] A long-lived representation of how people choose to risk their survival for fidelity and solicitude. 10/10

Ang Araw Bago ang Wakas [Diaz, 2016] Genius. An apocalyptic tale told through poetry against the backdrop of a growing disaster. 10/10

Grandma [Weitz, 2015] I love the story, I love how it unfolds, and I love how it will live in me for sure. 10/10

The Wailing [Na, 2016] An exhausting watch with an even more incredibly vexing inner context. 10/10

Oro [Yapan, 2016] Shows oppression and lopsidedness in equally lopsided frames. Amazing set of cast. 10/10

The Little Prince [Osborne, 2015, France]  Nothing like how I imagined it to be but I love it for everything it is. 10/10

Mad Max: Fury Road [Miller, 2015, United States]  That’s two hours of absolute vicious entertainment and visual marvel. 10/10

An Kubo sa Kawayanan [Yapan, 2015, Philippines] Stunning cinema. The film has its soothing silence that makes you appreciate the littlest things. 10/10 

The Martian [Scott, 2015, United States] Oddly funny in a satisfying form in the midst of struggle and desolation. 10/10

Thelma [Joaquim Trier, 2017, Norway]Meticulously-crafted film that questions fundamentalism as a basis for joy and purity. I yearn for films as poetic as this. 9.5/10

On Body and Soul [Ildikó Enyedi, 2017, Hungary] Too cold yet too heartfelt in all its complexity. 9.5/10

Hereditary [Ari Aster, 2018, United States] Unsettling down to the core with a convincing cast and a powerful storytelling. 9.5/10 

Incendies [Dennis Villanueve, 2011, Canada] With such expert direction, it’s elementally strong in more aspect than one. 9.5/10

Us [Jordan Peele, 2019, United States] It is as if every element in this film is smartly placed there to serve a deeper purpose, it’s a movie in search of greater meaning. 9.5/10

Manchester by the Sea [Kenneth Lonergan, 2016, United States] a quiet yet profound drama narrated too effectively resulting to a mournful yet beautiful symphony. A film that brings the kind of sadness that is both painful and alluring. 9.5/10

La La Land [Damien Chazelle, 2016, United States] Is really technically excellent, but is also really disconnected. Kind of something you adore rather than love. 9.5/10

Bad Genius [Nattawut Poonpiriya, 2017, Thailand] Brimming with excellent editing and direction, it is a thriller and an ingenius commentary on how social class inequalities lead to inevitable corruption. Brilliant. 9.5/10

Les Innocentes [Anne Fontaine, 2016, France] a battle between religious order and moral conscience, one whose importance cannot be omitted. 9.5/10

L’enfant [Luc Dardenne, Pierre Dardenne, 2005, France] It offers the kind of suspense that attacks your soul rather than just your senses. 9.5/10

First Girl I Loved [Kerem Sanga, 2016, United States] a tender coming-of-age drama that tackles discovering self-identity and the fear that comes with that realization. So raw, it’s thrilling. 9.5/10

Birdshot [Mikhail Red, 2017, Philippines] Beautifully shot, it swims along two storylines at par – both in search for impunity in a corrupted society. Too relevant. 9.5/10

Heneral Luna [Tarrog, 2015, Philippines]  Jerrold Tarog is as brave as General Luna. He clearly is the Luna of film making. 9.5/10

The Guilty (Den Skyldige) [Gustav Möller, 2018, Denmark] Is clever in its minimalism. A fast-paced action thriller and a psychological suspense, all shot entirely between four walls. 9.5/10

Batch 81 [Mike de Leon, 1982, Philippines] In its subversiveness and its sardonic undertone is a remarkable spectacle of expertise, bravery, esoterica, and dynamism. 9.5/10 

Dogman [Matteo Garrone, 2018, Italy] Examines a man’s need to be recognized as a chihuahua in a shepherd’s world. 9.5/10

Grave of the Fireflies [Isao Takahata, 1988, Japan] Save your fragile heart, this isn’t for the emotionally weak. 9.5/10

Timbuktu [Sissako, 2014, French, Mauritius] It haunts me more how this film can tell such horror beautifully, I am both mad and pitiful at once. 9.5/10

Copenhagen [Rasso, 2014, Denmark]  A very unusual romantic drama made guilelessly, the characters will live for years. I’m so in love with it. 9/10

God’s Own Country [Francis Lee, 2017, United Kingdom] Features a kind of romance with such carefully-observed realism. It was very well portrayed. Very well. 9/10

Apocalypse Child [Cornejo, 2015, Philippines]  I don’t know where it’s going & that’s what makes it great. Has the best cast ensemble I’ve seen this year. 9/10

Sleepless [Cruz, 2015, Philippines]  In which love is sincerely felt in the absence of romance. 9/10

Sunday’s Illness (La Enfermedad del Doming) [Ramon Salazar, 2018, Spain] Scene after scene of mesmerizing mystery and such powerful attention to detail. 9/10

Annihilation [Alex Garland, 2018, United States] Though at times flawed, it ended with such thought-provoking, ambitious, and lasting impact. 9/10 

Miss Bulalacao [Chawdhury, 2015, Philippines] A small-town film with a big message the whole world needs to know. 9/10

The Tale of Princess Kaguya [Takahata, 2014, Japan] Wow. How can something so cute and sweet break my heart into tiny little pieces? 9/10

The Ferry [Wei, 2013, China] Apart from its masterful visual beauty, the real treasure of this film is the beauty of its heart. 9/10

Saving Sally [Liongoren, 2016] Is the freshest and has the most creative style I’ve seen this year. 9/10

Sakaling Hindi Makarating [Idanan, 2016] In w/c you try to find yourself in far-flung places, & in doing so found someone equally lost. 9/10

Amelie [Jeunet, 2001] Uniquely crafted tour de force. So distinct, it won’t be forgotten. 9/10

One Week Friends [Masanori Murakami, 2017, Japan] There’s a good reason for my sunken eyes right now, right? 9/10

Vertigo [Alfred Hitchcock, 1958, 2012 restoration, United States] Where obsession leads to objectification of love and desire. 9/10

Captain America: Civil War [Joe Russo, Anthony Russo, 2016, United States] it’s hard to point out which part of the film I didn’t like, that’s if I hated anything. 9/10 

The Florida Project [Sean Baker, 2017, United States] Kids, no matter the social class, are still just kids in search for adventure, friendship, and love. This movie doesn’t feel like a movie at all, it’s brilliant. 9/10

Goodnight Mommy [Franz, Fiala, 2015] As cold and effective as it wants to be. 9/10  

 The White Helmets [Orlando Von Eisiedel, 2016, United Kingdom, Syria] A heartrending glimpse at the life of true heroes in violence-stricken Syria. 9/10

Inside Out [Docter, 2015, United States] One of the bravest films to ever illustrate the dysfunctions (and functions) of people’s emotions. 9/10

Star Wars Episode VII: The Force Awakens [Abrams, 2015, United States] Works best without the tweetums. Mostly worked therefore. It is the most complicated, action-packed, gender sensitive, and racially-diverse of the franchise. It also is my favourite. 9/10

PK [Rajkumar Hirani, 2014, India] a courageous film that wittingly pokes fun of religious beliefs. 9/10

Mamu and a Mother Too [Rod Singh, 2018, Philippines] Why it scared me, I don’t know. It could be because it’s unpredictable, it’s non-cliche, and it’s gentle in ways you don’t expect. I love it. 9/10

The Good Dinosaur [Sohn, 2015, United States] Not much story to offer, but heartfelt in its nothingness. Stunning visuals. Really stunning visuals. 9/10

Signal Rock [Chito Rono, 2018, Philippines] Very raw and phenomenal. Each character formidably plays an important role in characterizing a small town of heartwarming spirit. If not for its distracting bad CGI which I think is unnecessary, I’d give it a perfect 10. 9/10

Manang Biring [Papa, 2015, Philippines] One of those films that perfectly hit home. 9/10

Mercury is Mine [Laxamana, 2016] Quite a reflection of colonial mentality and the acute patronage of the superficial. 9/10

Beti [P. Sheshadri, 2017, India] manages to oppose patriarchy in Indian culture in such an innocent yet intelligible perspective. 9/10

Train to Busan [Yeon Sang-ho, 2016, South Korea] When everyone’s becoming a monster, humanity is the way to survive. Fast-paced. Thrilling. Heartfelt. I honestly feel like Train to Busan lacks a stronger female character, but it’s interestingly very human that I’m completely captured by it. 9/10 

Paris is Burning [Jennie Livingston, 1991, United States] is a little documentary that stays. 9/10

Paglisan [Carl Papa, 2018, Philippines] Heartbreaking. It is a test of sympathy. 9/10

ML [Benedict Mique, 2018, Philippines]teeming with ingenuity and masteful filmmaking, it’s a suspense too relevant for anyone to miss. 9/10

Liway [Kip Oebanda, 2018, Philippines] Is at most powerful when it exposes the correlation of facts and fiction. Doesn’t hit you right away but when it does, it hits hard. It hits still. 9/10

Sicilian Ghost Story [Fabio Grassadonia, Antonio Piazza, 2017, Italy, France, Switzerland] Cinematic and poetic. Beautiful in all its mythological symbolism. 9/10

Get Out [Jordan Peele, 2017, United States] a satire of utmost significance, it lives. 9/10

Si Chedeng at Si Apple [Rae Red, Fatrick Tabada, 2017, Philippines] Hilarious with punchlines, intelligent with comebacks. This is comedy with brain, soul, and heart. 9/10 Happy as Lazzaro (Lazzaro Felice) [Alice Rohrwacher, 2018, Italy] a charming small film with a subtext of such vivid social allegory. 9/10

I am Not a Witch [Rungano Nyoni, 2018, United Kingdom] For a debut film, this is quite a remarkable take on exploitation, abuse, and misogyny. 9/10

A Quiet Place [John Krasinski, 2018, United States] For a film that’s supposed to be silent, I find it quite overscored. Still a good watch though. 9/10

Ang Panahon ng Halimaw [Lav Diaz, 2018, Philippines] Sarcasm at its best. Quite fun. 9/10

L'amant Double [Francois Ozon, 2018, France] Wild and mindblowing, a film of endless curiosity. 9/10

Widows [Steve McQueen, 2018, United States] How can something so traditionally formal feel so modern at the same time? Steve McQueen knows. 9/10

Eerie [Mikhail Red, 2018, Philippines] More than its excellent scare tactics, what I love about it most is its clever storytelling and use of metaphors. 9/10

Veloce Come Il Vento [Rovere, 2016] Funny, gripping, touching. I enjoyed every single moment of it. 9/10

Sarong Banggi [Dela Cruz, 2005] i’m not too keen on the plot twist but the emotional connection’s too strong, I’m easily in love w/ it. 9/10

I Love You, Thank You [Gohetia, 2015, Philippines] That was quite a torture, I left the theater too broken. 9/10

La Luciernaga (The Firefly) [Ana Maria Hermida, 2015, Colombia] is about finding love in grief, beauty in ugly. And though there are some directorial decisions I don’t necessarily agree with, the chemistry its leads bring onscreen is too tangible for me to care about its flaws. 9/10

Green Room [Saulnier, 2016] a lot of fun, tension, blood, and cinematic excellence. My type of film, really. 9/10

I’ll See You In My Dreams [Haley, 2015] So true about the death I know and the death I don’t know. So true about everything actually. 9/10

Tuos [Cabrido, 2016] Visually alluring with winning performances, it’s almost hypnotic. 9/10Cain at Abel [Brocka, 1982] Sleekly written, directed, and acted. Considerably flawless. 9/10

Seklusyon [Erik Matti, 2016, Philippines] a thought-provoking jewel on the corruption of divinity and an examination of people’s inner evils. 9/10  

First Reformed [Paul Schrader, 2019, United States] an astounding character study that questions the politics of religion. 9/10

The Conjuring 2 [Wan, 2016] I guess I just can’t really be scared of something this good. No dull moment. So human. Much love for this. 9/10

Fuccbois [Eduardo Roy Jr, 2019, Philippines] Amazing storytelling and editing of a narrative so strange yet so eclectic. 8.5/10

BlackKKansman [Spike Lee, 2018, United States] Although satirically exaggerated, this film is teeming with entertainment and importance. 8.5/10 

In This Corner of the World [Sunao Katabuchi, 2017, Japan] It stays. Films like this, they always do. 8.5/10

The End of the Tour [Ponsoldt, 2015, United States] Give me a minute, I need to rethink my life. 8.5/10

Margarita with a Straw [Nilesh Maniyar, Shonali Bose, India, 2016] An unusual take on sexual exploration and self discovery. It somehow lost its focus towards the end but still a delightful watch overall. 8.5/10

Berlin Calling [Hannes Stohr, 2008, Germany] a movie that lives in the present paced in such rhythmic beat, it is dazzling from start to end. 8.5/10

Kuwaresma [Erik Matti, 2019, Philippines] Is a multilayer of social commentaries which were good before they too contradict themselves. 8.5/10

Two Days, One Night [Dardenne, 2014, Belgium, France, Italy] I’m crying half of the time because its emotional dilemma has to be seen in the eyes of depression. 8/10

Battle of the Sexes [Jonathan Dayton, Valerie Faris, 2017, United States] Makes me feel bad for not being alive yet when it happened. Ace. 8/10

Euthanizer (Armomurhaaja} [Teemu Nikki, 2018, Finland] An examination of how suffering is commensurate with cruelty. For something so bleak, it is surprisingly a good exemplification of moral values. 8/10

Sicario [Villanueve, 2015, United States] One of the best and intensely-directed crime films I’ve seen that doesn’t need much action to thrill. 8/10

Don’t Breathe [Alvarez, 2016] Alvarez has some serious skills to make this suspenseful with only a blind villain inside a small house. 8/10  

Elle [Verhoeven, 2016] has one of the most intriguing antihero characters played perfectly well by Huppert. 8/10

Water Lemon [Lorca, 2015, Philippines] In w/c the struggle of finding strange connection (w/ people, emotions, wavelength, nature) is incredibly real. 8/10

Theeb [Nowar, 2015] For a newcomer, Nowar is a delightful surprise and so is Eid who did perfect in this film. 8/10

Brother of the Year [Witthaya Thongyooyong, 2018, Thailand] For all its simplicity and bleak storyline, it still offers an abundance of emotion and a sense of realism. 8/10

Padman [R. Balki, 2018, India] Speaks volumes in a humorous way. Something enlightening and empowering, I love it. 8/10

Gutland [Govinda Van Maele, 2017, Luxembourg] For a debut feature, Van Maele is a master of slow-burn tension. 8/10

Ek Ladki Ko Dekha To Aisa Laga [Shelly Dhar, 2019, India] Not a first in world cinema, but is still a groundbreaking moviemaking in the context of India. 8/10

Lorna [Bernardo, 2015, Philippines] Feels so legitimate, it’s entertaining from start to end. 8/10

The Killing of a Sacred Deer [Yorgos Lanthimos, 2017 Greece, UK , US] Yet another solid psychological thriller by the master of contemporary enigma. 8/10

If Cats Disappeared From the World [Akira Nagai, 2016, Japan] a tearjerker drama that examines the essence of living as opposed to just merely existing. 8/10

Ek Ladki Ko Dekha To Aisa Laga [Shelly Dhar, 2019, India] Not a first in world cinema, but is still a groundbreaking moviemaking in the context of India. 8/10

Coco [Lee Unkrich, 2017, United States]Understands what La La Land doesn’t – relationships shouldn’t suffer when achieving our dreams. 8/10

Medianeras [Taretto, 2011] a lot wordy. But it’s the kind of wordy I’d love to listen to over and over again. 8/10

Paterson [Jim Jarmusch, 2016, United States] Poetic is an understatement. 8/10

Changing Partners [Dan Villegas, 2017, Philippines] uses strong dialogues and character play that makes it rare and magical. 8/10

A Prayer Before Dawn [Jean-Stéphane Sauvaire, 2018, France, Thailand] For something that feels hesitant in showing violence, this is already quite a tough watch. 8/10

We Need to Talk About Kevin [Lynn Ramsey, 2012, United States]

Purgatoryo [Cabrido, 2016] Reminds me a lot of ‘Oros’ only with some serious technique and distinct visual style. 8/10

A Taxi Driver [Hun Jang, 2017, South Korea] an entertaining yet affecting tribute to nameless heroes. 8/10

Ex Machina [Garland, 2015, United Kingdom, United States] A gripping labyrinth shown with such sleek visuals. 8/10

Krigen [Tobias Lindholm, 2016, Denmark] Feels a little rushed in the end, but affecting overall. 8/10

Chemi Bednieri Ojakhi (My Happy Family) [Nana Ekvtimishvili, Georgia, 2017] Paints quite vividly a life of a woman in a patriarchal society. Remarkable. 8/10

Little White Lies [Guillaume Canet, 2010, France] I love these characters too much to the point of wanting them to be real. 8/10

Beach Rats [Eliza Hittman, 2017, United States] Overall, a substantial commentary on the stigma of homosexuality and its effect on why people choose to hide. 8/10 

The Artist [Hazanavicius, 2011] Very artistically and playfully crafted. 8/10 

Bridge of Spies [Spielberg, 2015, United States] A blend of intimate and gripping accounts of a political thriller with excellent performances and direction. 8/10

Paki [Giancarlo Abrahan, 2017, Philippines] an illustration of how even the most prosaic narrative could be weighty through the power of storytelling and good direction. 8/10

Memoir of War (La Douleur) [Emmanuel Finkiel, 2017, France] Sadly, its visual choices, experimental scoring, and drawn out structure don’t match Marguerite Duras’s poetic writing. 8/10

The Wound (Inxeba) [John Trengove, 2017, South Africa] More than the physical wound from a boy's transition to manhood, this movie tackles a deeper kind of pain, the kind that scars forever. 8/10

A Gift [Jira Maligool, 2017, Thailand] One of those films that could effortlessly make you laugh and cry. Charming. Very very charming – definitely a favourite. 8/10

Pan de Salawal [Che Espiritu, 2018, Philippines] a hard-hitting reminder that the most painful challenges people overcome are also the most rewarding. Don’t be afraid to feel them all. 8/10

The Girl in the Book [Cohn, 2015, Untied States] It’s uncomfortable to watch two people w/o resemblance play the same character. Otherwise it’s great. 8/10

Heaven Knows What [Safdie, 2015, Germany] Raw and natural. This film is so truthful and alive, it breathes on its own. 8/10

Ang Kwento Nating Dalawa [Abrogena, 2015, Philippines] Silence, long takes, parallelism. This film knows how to show separation in its most artistic form. 8/10

Brooklyn [Crowley, 2015, United Kingdom, Canada, Ireland] Honestly told, naturally acted, distinctly beautiful. 8/10

Personal Shopper [Olivier Assayas, 2017, France] A subtle but dreary take on grief. Slow but rewarding in the end. 8/10

Moglie e Morito [Simone Godano, 2017, Italy]Could be the funniest film I have watched this year. 8/10

Love You to the Stars and Back [Antoinette Jadaone, 2017, Philippines] Kind of wants to make you believe in destiny, kind of succeeds in that sense. A tender take on teenage love and loss, so pure, it’s precious. 8/10

Above the Clouds [Diokno, 2014, Philippines] Feels a bit preachy to me but at the same time subtle in advocating against environmental destruction. 8/10

Mission Impossible: Rogue Nation [McQuarrie, 2015, United States] I love the action, yes. But I love Rebecca Ferguson a million times more. 8/10

The Great Buddha+ [Hsin-yao Huang, 2018, Taiwan] Not sure if saying “this is my kind of humour” is something I should be proud of but damn this film is hilarious! Oh and really clever too. 8/10

Hacksaw Ridge [Mel Gibson, 2016, United States] Is one of those war films that stand out. 8/10

Hidden Figures [Ted Melfi, 2017, United States] For those questioning the existence of women figures in history, here’s a good start for you. 8/10

D'Ardennen [Robin Pront, 2016, Belgium] Just about the right amount of violence and grim unpredictability paced quite effectively. 8/10

Mother! [Darren Aronofsky, 2017, United States] It wore me thin down to the core then ended quite brilliantly. My social anxiety is triggered, I am petrified and annoyed both at the same time. 8/10

Blade Runner 2049 [Dennis Villanueve, 2017, United States] Despite its cringe-worthy attack on my feminist self, it actually has a rich cinematic vision of a bewildered 2049. 8/10

Ang Larawan [Loy Arcenas, 2017, Philippines]Has such polished musicality that it overwhelms you to the point of it defying the flaws. 8/10

Lipstick Under my Burkha [Alankrita Shrivastava, 2016, India] Comes with great intentions but lacks the powerful female characters the film supposed to have. 8/10

L’Avenir [Mia Hansen-Love, 2016, France] At this point, everyone should know that there is nothing Isabelle Huppert cannot do. 8/10

Nocturnal Animals [Tom Ford, 2016, United States] This is how a writer dies, and this is how a writer comes back with a kill. 8/10

La Tortue Rogue [Michael Dudok De Wit, 2017, France, Japan] A dialogue-less animation that proves that silence speaks a thousand words and could even provoke deep thinking. 8/10 

Everybody Loves Somebody [Catalina Aguilar Mastretta, 2017, Mexico] Nothing much is special and new about it which is why I don’t understand why I love it to a great extent. 8/10 

The Revenant [Iñárritu, 2015] Although it speaks, it doesn’t speak loud enough to be heard. 8/10

10 Cloverfield Lane [Trachtenberg, 2016] It’s wicked in a way that it is good. 8/10

Mon Roi [Maïwenn, 2016] With a narrative so hard to withstand, the riveting performances of Bercot and Cassel made this a must watch. 8/10 

Neruda [Larrain, 2016] Virtually poetic, contextually lyrical. 8/10

Leave No Trace [Debra Ganik, 2018, United States] a small film of massive authenticity and warm touch. It will leave a trace. 8/10

Manila by Night [Ishmael Bernal, 1980, Philippines] a classic representation of the realities of how Manila is a witness to the city’s moral lethargy. 8/10 

Rogue One: A Star Wars Story [Edwards, 2016] If only for its third act, this is already worth every penny. 8/10

Un Homme Ideal [Gozlan, 2016] a film structured so well, it’s both suspenseful and unpredictable. 8/10

Rosita [Aspock, 2015] a momentous character-driven drama on relationships & sacrifices shown through natural & credible performances. 8/10

I Smile Back [Salky, 2015] Nothing I haven’t seen before which is why I don’t know why I liked it. 8/10 

Ned’s Project [Lorca, 2016] Has a profound sense of lesbian issues w/ a well-thought-of character superbly portrayed by Angeli Bayani. 8/10 

The Third Party [Laxamana, 2016] Examines the struggles of sexual confusion, and existential crisis. Something that hits home. 8/10 

Ignacio de Loyola [Dy, 2016] Sincerely really well-made, I’m surprisingly impressed. 8/10 

Curiosity, Adventure, Love [De Leon, Richiardone, 2016] it’s the kind of film full of wisdom, it’s like I left the theater smarter. 8/10

I am Not a Serial Killer [O'Brien, 2016] The thing I like about this is I’m still not sure whether he is or is not a serial killer. 8/10 

Macbeth [Kurzel, 2015] Poetically forceful, it leaves you vividly stunned. 8/10

The Jungle Book [Favreau, 2016] It is so good, I almost stood up from my seat to join them in the jungle. 8/10

Deadpool [Miller, 2016] Still a better love story than Twilight. 8/10

Sovdargari (The Trader) [Tamta Gabrichidze, 2018, Georgia] Emotionally intense depiction of rural poverty. 7.5/10

The Two Popes [Fernando Mereilles, 2019, UK, US, Italy, Argentina] Features two outstanding performances that redeemed it from all its dragging moments. 7.5/10

Baby Driver [Edgar Wright, 2017, United States] The ending blew it, but I had so much fun anyhow. 7.5/10

It Follows [Mitchell, 2015, United States] It isn’t particularly terrifying to me, but this is definitely an anti-cliche horror film worth watching. 7.5/10

Loving Vincent [Dorota Kobiela, Hugh Welchman, 2017, Poland-UK] Focused too much on visual mastery, wasn’t impactful, narrative-wise. 7.5/10 

Black Panther [Ryan Coogler, 2018, United States] Oozing with unusual but likable characters. 7.5/10

A Land Imagined [Chris Yeo, 2018, Singapore, France, Netherlands] An unsettling noir mystery that questions people’s notion of truth. 

My Days of Mercy [Tali Shalom Ezer, 2019, United States] There is a bewitching chemistry between the two leads despite the coldness of it all. 7.5/10

The Other Side of the Wind [Orson Welles, 2018, United States] Not for a Welles beginner but is surely a completist’s delight. 7.5/10

Felicite [Alain Gomis, 2017, Senegal, Congo, France] With such lyrical tone, its narrative was thinly sketched that some of its elements don’t match. 7.5/10

I, Tonya [Craig Gillespie, 2017, United States]Despite Robbie’s knockout portrayal, I still need to connect more with Tonya Harding. 7.5/10

Dunkirk [Christopher Nolan, 2017, United States] Boasts Nolan’s technical superiority. 7.5/10   

Contratiempo (The Invisible Guest) [Oriol Paulo, 2017, Spain] offers an outstanding and enjoyable thrilling ride. 7.5/10

Giant Little Ones [Keith Berhman, 2019, United States] An honest road to knowing your own self in the eyes of a boy transitioning to adolescence. 7.5/10

Revenge [Coralie Fargeat, 2018, France]Caution: explicit cursing while watching and cheering to this. 7.5/10

Tu Pug Imatuy [Arbi Barbarona, 2017, Philippines] Great. Everything here feels authentic, it’s powerful. 7.5/10

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7.5/10 

Kaptn Oskar [Tom Lass, 2013, Germany] Only basic virtue - it is a beautiful film. Not only for its comfort. But for the old poetry of dust emotions. 7.5/10

Walang Forever [Villegas, 2015, Philippines] A delightful romcom that shifts to heavy drama. Has a confusing tone, but ok with the follow through. 7.5/10

Tangerine [Baker, 2015, United States] Funny and adorable in an odd way. My favourite comedy of 2015 (so far). 7.5/10

Wonder Woman [Patty Jenkins, 2017, United States] More than it being a feminist is it being human and that I think is more important. 7.5/10 

That’s Not Us [William Sullivan, 2015, United States] Very real and natural, I’m nostalgic for reasons I cannot explain. 7.5/10

Other People [Chris Kelly, 2016, United States] So subtly-made, yet is filled with so much emotions. I have much respect for this. 7.5/10

Aria [Carlo Catu, 2018, Philippines] Could have gone deeper and darker to make a more harrowing but lasting impact. It borders on the safe side, but still able to tell something important. 7.5/10

Creed [Coogler, 2015, United States] One of the most passionate films of the year. Surprisingly, it’s still very Rocky. 7.5/10

Furie [Le Van Kiet, 2019, Vietnam] With great performance and thrilling choreography, Furie is one of the best action films of 2019. 7.5/10

Logan [James Mangold, 2017, United States] Could be the marvel movie that made me feel the saddest. 7.5/10

The Awakening of Motti Wolkenbrunch [Michael Steiner, 2019, Switzerland, Germany] A funny glimpse at a life of an Orthodox Jewish man with a chemistry that gives you a hopeful ending. 7.5/10

Gerald’s Game [Mike Flanagan, 2017, United States] Meticulously-directed, it is an outstanding adaptation of Stephen King’s novel. 7.5/10

Kita Kita [Sigrid Andrea Bernardo, 2017, Philippines] I have a problem with what it’s trying to romanticize, but I still find it romantic, I’m conflicted. I don’t know but i tend to like films/books that border on finding comfort in loneliness. Kita Kita understands that concept pretty well.  7.5/10

You’re Ugly Too [Mark Noonan, 2015, Ireland] An engaging journey of two unusual characters thrown together infused with a great sense of authenticity. 7.5/10 

Billie & Emma [Samantha Lee, 2018, Philippines] There’s magic in its production design and an amusing chemistry that would remind you of what it’s like to fall in love the first time. It is everyone’s teenage romance, the kind that buries heteronormativity. 7.5/10

The Beguiled [Sofia Coppola, 2017, United States] Powerhouse cast in one of their most memorable performances. 7.5/10

Star Wars: The Last Jedi [Rian Johnson, 2017, United States] I like how it understands the inevitability of war, and how good and evil coexists. 7.5/10

Of Love & Law [Hikaru Toda, 2017, Japan] Questions the intricacies of Japanese culture through a collection of simple yet meaningful moments. 7.5/10

Jurassic World: Fallen Kingdom [JA Bayona, 2018, United States]

Bambanti [Dulay 2015, Philippines] Has an honest storytelling of a small town tale that examines the correlation between social status and justice. 7.5/10

Singing in Graveyards [Bradley Liew, 2017 Philippines, Malaysia] It’s the things that it did not say that made this movie stirring. 7.5/10

Dukot [Soriano, 2016] has a kind of storytelling and powerhouse cast so good, you hate that it isn’t great. 7.5/10 

Kiko Boksingero [Thop Nazareno, 2017, Philippines] A small movie with lots of charm. A film about longing and finding satisfaction from things that are there all along. 7.5/10

A War [Lindholm, 2015] A war film In which the only villain is the circumstance itself. 7.5/10

Haunted: A Last Visit to the Red House [Phyllis Grande, 2017, Philippines] a quiet little gem. I would have want to cut it shorter though. 7.5/10

El Hombre de al Lado [Duprat, Cohn, 2009] Artistically minimalist, and yet very profound. 7.5/10

I Saw the Devil [Kim Jee-Woon, 2011, South Korea] A traumatic examination of how a monster is made. Creepy yet insightful. 7.5/10

Bagahe [Zig Dulay, 2017, Philippines] Proves that mental disturbance hits my emotions more than seeing physical violence. Affecting once digested. 7.5/10

Moana [Clements, Musker, 2016] Has a great sense of identity and sensibility, with really beautiful visuals and scoring. 7.5/10 

Baconaua [Joseph Israel Laban, 2017, Philippines] Hypnotizing. A small-town tale with profound ideologies buried under its simplicity. 7.5/10

Alipato: The Very Brief Life of an Ember [Khavn, 2016, Philippines] An enjoyable mix of weird artistry, whimsical storytelling, significant animation. Ridiculous but ridiculously exceptional. 7.5/10 

Kon-Tiki [Robbing, Sandberg, 2012] such a wonderful adventure in such a beautiful part of the world. 7.5/10

Jackie [Pablo Larrain, United States, 2016] Portman delivered a warm performance in what could be a cold memoir. 7.5/10

Italian for Beginners [Lone Scherfig, 2001, Denmark] an enjoyable character-driven story of adults finding love in the most unexpected moments. 7.5/10

Room 8 [James Griffiths, 2013, United States] Unique and smart. Too amazed, I had to share it with everyone. 7.5/10

Black Panther [Ryan Coogler, 2018, United States] 

Avengers: Infinity War [Anthony and Joe Russo, 2018, United States]

The Invitation [Karyn Kusama, 2016, United States] I know a psychological thriller like this is effective when I find myself so uncomfortable, wanting to leave, cautious of being brainwashed. 7.5/10 

Ready Player One [Steven Spielberg, 2018, United States] Too amusing to the point of apathy. Still entertaining though. 7.5/10

Disobedience [Sebastian Lelio, 2018, Ireland] Depicts the beauty of internal turmoils and hidden desires, it’s gripping. 7.5/10

Isle of Dogs [Wes Anderson, 2018, United States] A quirky imagination of a simple narrative, told in a hyper-stylized artistry. 7.5/10

Apostasy [Daniel Kokotajlo, 2017, United Kingdom] the more it rolls, the more I loathe religion. 7.5/10 

Wonder Woman [Patty Jenkins, 2017, United States] More than it being a feminist is it being human and that I think is more important. 7.5/10 

Trumbo [Roach, 2015] For a film about an exemplary screenwriter, it was only averagely written. 7.5/10

Miss You Already [Hardwicke, 2015] The kind that will make you laugh, or weep, or both at the same time. 7.5/10

Hintayan ng Langit [Villegas, 2018] I’m not completely sold on a couple of its elements but boy, Gina Pareño is a gem. A sparkling one.  7.5/10  

Always Be My Maybe [Villegas, 2016] Let’s do away with the immature cheesy scenes. The chemistry is already cute without it. 7.5/10

Malila: The Farewell Flower [Anucha Boonyawatana, 2018, Thailand] A beguiling narration of existentialism, redemption, and the philosophy of Buddhism. All told in such calming gaze, it’s actually hypnotic. 7.5/10

Heartland [Maura Anderson, 2017, United States] A lot of technical expertise is lacking but it’s heartbreaking just the same. 7/10

Under Heaven [Tilepbergen, 2015] A series of unfortunate events told through a collection of expressive shots and believable lead. 7/10

Meet Me in St Gallen [Irene Villamor, 2018, Philippines]

Meadowland [Morano, 2015, United States] I’ve always loved Olivia Wilde, and this is her most accomplished performance yet. 7/10

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7/10

Eight Grade [Bo Burnham, 2018, United States] One of the most important and most natural teen movies of the year. 7/10

UnTrue [Sigrid Andrea Bernardo, 2019, Philippines] to put it simply, UnTrue is a thrilling rollercoaster ride. 7/10

En Chance Til [Bier, 2014] has an underdeveloped style and presentation to convince its audience of its supposed resonant narrative. 7/10

The Hitman’s Bodyguard [Patrick Hughes, 2017, United States] To hell with that, I enjoyed it. A lot. 7/10

Ma’ Rosa [Mendoza, 2016] a glimpse of the reality of poverty & how Filipinos negotiate for their lives. Important film but not my fave. 7/10

Dear Ex [Chih-Yen Hsu, 2018, Taiwan] Features odd but genuine kind of love. It is funny, heartfelt, and charming all at the same time. 7/10

The Miseducation of Cameron Post [Desiree Akhavan, 2018, United States] Provocatively presents how emotionally abusing conversion therapy could be. 7/10

First They Killed my Father [Angelina Jolie, 2017, United States, Cambodia] sincerely and sensitively paints a portrait of a country’s tragic history. 7/10

The Journey [Chiu Keng Guan, 2014, Malaysia] Gives you a glimpse of Chinese culture against the backdrop of the beautiful Malaysian landscapes. I really had fun. 7/10

Baboy Halas [Fiola, 2016] a film that will truly immerse you to a life completely unknown. Tranquil yet turbulent. A new experience. 7/10

Tale of Tales [Garrone, 2015, Italy] Boasts lavish productions with a series of macabre fairytales for adults. 7/10

I’m Drunk, I Love You [JP Habac, 2017, Philippines] Makes you feel so much. Something too relatable, it’s terrific. If only for its music scoring, it’s already worth the watch. 7/10 

La Tête Haute [Bercot, 2016] Paradot’s portrayal of a violent juvenile is one of the best I’ve seen this year. 7/10

Crazy Rich Asians [Jon Chu, 2018, United States] Important and feel-good, but that’s just it for me. 7/10

Vince & Kath & James [Theodore Boborol, 2016, Philippines] wait taym pers, bakit ampogi nung bagets? 7/10

Truth [Vanderbilt, 2015] It’s bothersome that it will make you thirst for truth, but the facts wont prove you that. 7/10

Mrs [Alix, 2016] Doesn’t go too big on drama but delivers first-rate portrayals of women wrestling with their own inner demons. 7/10

The Girl King [Mika Kaurismaki, 2015, Sweden, Finland] has a strong female character who does not dare conform to society’s truths. 7/10

Buhay Habambuhay [Herras, 2016] Technically, it was just okay. But it’s the kind of okay that lives. 7/10

Distance [Perci Intalan, 2018, Philippines] a tender family drama with powerful performances of characters who choose to love no matter how wrong or right. 7/10

Showroom [Fernando Molnar, 2014, Argentina] is a showroom of how beautiful and luxurious an artificial world could be. 7/10

Captain Fantastic [Matt Ross, 2016, United States] a thoroughly-observed film that asks too many radical questions that can only be answered by contradicting its own philosophy. Quite a realization that balance is the key to life. 7/10 

The Intervention [DuVall, 2016] Seems like a real bond, I don’t mind hanging out with them again. 7/10

Contagion [Steven Soderbergh, 2011, United States] Believable but somehow lacking in its scare tactic. 7/10

La Pazza Gioia [Paolo Virzi, 2016, Italy] The chemistry and the friendship formed between Beatrice and Donatella is a delightful box full of surprises. 7/10

The Girl Who Leapt Through Time [Mamoru Hosoda, 2006, Japan] an entertaining anime on time travel done with slick sensitivity. 7/10

Jorgen + Anne = Sant [Sewitsky, 2011] When it comes to love, who are we to judge? 7/10

Zodiac [David Fincher, 2007, United States] Intelligent drama, boring thriller. Not a fan. 7/10

The Greatest Showman [Michael Gracey, 2018, United States]

The Write Moment [Dominic Lim, 2017, Philippines] Incredibly funny. Unfamiliar yet relatable. 7/10

Baka Bukas [Samantha Lee, 2017] A realistic take on coming out and drifting apart. 7/10

Mistress America [Baumbach, 2015] In which anxiety, loneliness and one’s own crises are hidden behind the wit. 7/10

The Battleship Island [Seung-wan Ryoo, 2017, South Korea] Kind of an upset for a big-budget film. It was entertaining anyhow. 7/10

One Day [Banjong Pisanthanakun, 2016, Thailand] I could buy the romance here but I wouldn’t. Still quite good though. 7/10

Hunt for the Wilderpeople [Taika Waititi, 2016, New Zealand] Boasts really funny puns, and spectacular landscapes. All fun. 7/10

Nabubulok [Sonny Calvento, 2017, Philippines] With how much I read and watch crime and legal thrillers, I find this film very problematic in more ways than one. Still worth a watch though. 7/10

The Diary of a Teenage Girl [Heller, 2015] Well, that was quite an extraordinary diary. 7/10

Cafe. Waiting. Love [Jiang Jin Lin, 2014, Taiwan] Better if cut into two different films. Says something important somewhere. 7/10

Ken and Kazu [Shoji, 2015] Hard to watch. Pays off in the end. 7/10

Dagen Zonder Lief [Groeningen, 2007] a subtle observation of how youth disappears from sight. 7/10

Hush [Flanagan, 2016] Interesting use of silence both as a scare tactic and as a lifesaver in this nail-biting thriller. 7/10

Bridgend [Ronde, 2016] When there’s a teen suicide outbreak, how are you not going to like it? 7/10

Smaller and Smaller Circles [Raya Martin, 2017, Philippines] Suspense done right but there’s something about its exchanges that seems unnatural. 7/10

Lily [Deligero, 2016] Impressive style and use of myth to reject misogyny. 7/10

Pop Aye [Kirsten Tan, 2018, Thailand, Singapore] Is as slow but as heavy as its lead. 7/10

The Lady in the Van [Hytner, 2015] Nothing much in here stands out except for Maggie Smith’s glorious performance. 7/10

Instalado [Jason Paul Laxamana, 2017, Philippines] Has a creative approach in showing education as a privilege in a world of Insta-everything. Clever, it resembles the paranoia Margaret Atwood gives, and the subtle societal dysfunctions Yorgos Lanthimos offers. 7/10

High Tide [Tara Illenberger, Philippines, 2017] There’s something beautiful behind this film’s innocence. Too slow for my taste though. 7/10

Sa Gabing Nananahimik ang mga Kuliglig [Iar Lionel Arondaing, 2017, Philippines] Experimental with its cinematography and is probably its greatest strength. It’s 4:3 frame explains the film pretty well. 7/10

The Edge of Seventeen [Kelly Fremon Craig, 2016, United States] Full of hypothetical teenage angst, and coming of age romance. Was okay. 7/10

TPO [Altarejos, 2016] Melancholy & vexation told through intrinsic acting & a mix of essential & nonessential collection of long takes. 7/10

The Day After Valentine’s [Jason Paul Laxamana, 2018, Philippines] Brilliant in its canny use of language to illustrate people’s tendency to miscommunicate emotions. 7/10

Rhymes for Young Ghouls [Barnaby, 2014] For a period film, this is kinda lost in the modern world. Other than that, it’s good. 7/10

Child of Debt [Swamy, 2015] a tale of forlorn hope in which life is on loan & the only way to pay is through death. Honestly beautiful. 7/10

Certain Women [Kelly Reichardt, 2016, United States] It takes patience to watch this, but in the end, the winning silences and subtleties are worth it. 7/10

Affinity [Fywell, 2008] I’m very angry, disappointed, and affected. If that’s the goal, then it did I great job. 7/10

Tanna [Butler, Dean, 2016] a tribal Romeo and Juliet. The kind of “you and me against the world” that changed a way of living. 7/10

Thoroughbreds [Cory Finley, 2018, United States] The kind of film that doesn’t lead to what you think. It’s black comedy of my liking. 7/10

4 Latas [Gerardo Olivares, 2019, Spain] For all its nonsense, I enjoyed it. 7/10

[witchyrobobabe-blog]

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