Category: Business Mirror

Puregold CinePanalo Film Festival 2026 has unveiled the official posters of its seven full-length films, giving audiences a foretaste of the distinct worlds, characters, and stories set to hit the big screen. As the much-awaited festival draws near, the reveal provides a preview of what festival goers may expect from its latest selection: from magical journeys and supernatural encounters to coming-of-age stories, and from quiet reflections on grief and loss to a romance that straddles the realms of the living and the dead.

Indeed the seven posters reflect the diversity of narratives represented across the full-length slate. Each carries its own visual identity, giving a sense of the tone and imagination behind the films while building anticipation for what is to come.

‘The posters give a first glimpse at the vision and creativity of this year’s filmmakers,’ Festival Chair and Puregold Senior Marketing Manager Ivy Hayagan-Piedad affirmed. ‘From one entry to the next, audiences will see different perspectives, different worlds, and different ways of telling stories. That range is part of what makes watching Filipino films such a rich experience, and we are proud to invite everyone to discover what makes each of these panalo in its own way.’

Puregold CinePanalo awarded each of the seven filmmakers a ?5 million production grant to develop their projects for the big screen, resulting in a selection that spans different genres, perspectives, and storytelling styles.

Lawrence Fajardo’s ‘Beast’ sets off on an unusual journey, following an old farmer and his loyal carabao as they make their way to Manila. Adding another personal touch to its visual identity, writer Jim Flores created the poster, which hints at the magic, adventure, and emotional journey at the heart of the story.

The supernatural takes on a more colorful and playful form in Carl Joseph E. Papa and Ian Pangilinan’s ‘Patay Gutom.’ Filipino illustrator and film poster artist Denver Balbaboco brings that energy to the official poster, offering a vibrant introduction to the film’s quirky blend of romance, humor, family, and the netherworld.

Balbaboco recently created the new cover art for The Criterion Collection’s release of Guillermo del Toro’s ‘Frankenstein,’ while his own body of work spans posters and key art for local and international projects.

A very different kind of chaos unfolds in Mikko Baldoza’s ‘Stuck On You.’ With its bold and dynamic aesthetic, Liam Casimiro’s poster hints at the unlikely collusion of romance, danger, and comedy at the heart of the story.

Meanwhile, Thop Nazareno’s ‘Apol of My Ai’ opens the door to the mercurial world of a young boy navigating the post-adolescent complications of growing up. The poster was designed by Jermaine Tulbo, whose work includes the official poster for the award-winning Puregold CinePanalo 2025 entry ‘Olsen’s Day.’ Tulbo’s latest work brings together the people, relationships, and music that define Apol’s journey.

Joseph Abello’s ‘Wantawsan’ takes an ordinary errand in an unexpected direction. He also takes on the poster’s design, projecting his vision into a visual that matches its unpredictable, offbeat energy and hints at the comical adventure that lies ahead.

The 2026 festival lineup also makes room for more introspective stories. In BC Amparado’s ‘Mono No Aware,’ a promise between a Filipino kodokushi cleaner and an elderly widower leads to pensive musings on grief, family, and the transient quality of life.

The evocative image was created by Davao-based graphic designer and filmmaker Wowa Medroso, whose debut feature ‘Kantil’ premiered at Cinemalaya. The image carries the same restrained and contemplative atmosphere as the story itself.

Completing the lineup is ‘Multwoh (Patay na Patay Sa’yo),’ written and directed by Rodina Singh. Behind its visually stunning poster is multidisciplinary visual creative EA Rosana, whose work spans posters, cover art, photography, and production design, including projects connected with girl group BINI.

Rosana previously collaborated with Singh on the poster for her film ‘Dreamboi.’ Blending the haunting, hilarious, and tender sides of the story, the artwork draws viewers into the kind of love that endures even beyond death.

Together, the seven posters do more than showcase the faces and titles behind the featured films. They offer a portal to the worlds their filmmakers have created, from the strange and surreal to the funny, heartfelt, romantic, and deeply human.

The Puregold CinePanalo Film Festival 2026 runs from September 23 to October 4 at Gateway Cineplex 18, Trinoma, Fairview Terraces, Ayala Malls Feliz, Ayala Malls Circuit, Ayala Malls Manila Bay, and Market! Market!

Tickets are priced at ?250 for regular admission and ?200 for persons with disabilities, senior citizens, students, national athletes, and Aling Puring cardholders. Individual tickets will also be made available online, with an official announcement to follow once online sales begin.

A ?2,000 festival pass will be available exclusively at participating venues, with no online purchase option. Passes may be purchased at Gateway Cineplex 18 starting September 22, before becoming available at all participating malls on September 23.

As audiences begin the countdown to another edition of Puregold CinePanalo, the newly revealed posters bring this collection of fresh Filipino films a little closer to the big screen. Seven panalo titles, seven distinct visions, and seven more reasons to look forward to a celebration of local artistry.

The local information technology-business process management (IT-BPM) industry is turning to one of its longtime insiders to lead its largest industry association, with Celeste Ilagan set to become the first woman to head the group.

The Information Technology and Business Process Association of the Philippines (IBPAP) on Thursday named Ilagan, its current chief operating officer, as president and chief executive officer (CEO)-designate, succeeding Jack Madrid effective October 11. Ilagan brings nearly three decades of experience in the IT-BPM industry, including four years in IBPAP’s leadership ranks. She joined the association in 2022 as chief policy and regulatory affairs officer and currently serves as chief operating officer.

Before joining IBPAP, she began her career in investment promotion at the Board of Investments. She also served two terms on IBPAP’s Board of Trustees from 2019 to 2022.

Her work at the association has focused on policy and regulatory affairs, legislative advocacy, investor and government engagement, as well as workforce development.

She has been involved in industry efforts related to the CREATE MORE Act, including work on tax matters, ease-of-doing-business initiatives and cybersecurity partnerships.

Ilagan also oversees IBPAP’s talent and workforce agenda, including its work with the Technical Education and Skills Development Authority, Commission on Higher Education and Department of Education on the Enterprise-Based Education and Training framework.

Her appointment comes as the sector continues to adjust to changes in technology, global demand and the composition of outsourced services.

IBPAP now projects the industry to generate $43.3 billion to $50.5 billion in revenues and employ 1.85 million to 2.14 million full-time workers by 2028.

The revised outlook is below the association’s 2022 roadmap, which had targeted $58.9 billion in revenues and 2.5 million workers by 2028, equivalent to an additional 1.1 million jobs.

Madrid will remain president and CEO until October 10. After his IBPAP tenure, he will take on a new role as Philippines ambassador for speech AI company Sanas, which is expanding its presence in the country.

2024 Gawad CCP Para sa Sining awardee Jose ‘Pete’ F. Lacaba sings the final part of Kulay Rosas, his Filipino translation of La Vie en Rose, during a tribute for his wife, acclaimed poet, essayist and journalist Marra PL. Lanot, on Wednesday night, August 26, 2026, at St. Peter Chapels in Commonwealth, Quezon City.

Marra, who passed away on August 16 at 82, spent a lifetime in poetry and letters.

She was among those present when the Philippines Graphic was revived in June 1990, with National Artist for Literature Nick Joaquin as its first editor-in-chief.

She and Lacaba were among Joaquin’s protégés during the publication’s early years.

She later became Literary Editor of the Philippines Graphic Reader, the literary companion of the Philippines Graphic, and authored 16 books.

A Palanca awardee, Catholic Mass Media Awardee and Balagtas awardee, Marra represented the Philippines at major international literary festivals, and her poetry was translated into several languages.

Before guests even reach the reception desk, Kaban Hotel and Casino (Boracay) sets the tone for a different kind of arrival, one that begins not with check-in, but with a moment of pause.

At the heart of its main lobby now stands Paraw Sails Painting, a commissioned installation by contemporary Filipino visual artist Jo Balbarona, unveiled as the property’s signature artistic centerpiece. The reveal was led by General Manager Sherwinne Cabalang, together with Abigael Teotico, owner of Galerie Stephanie, reinforcing KABAN’s commitment to integrating Filipino artistry into its evolving hospitality narrative.

Inspired by the iconic paraw, the traditional sailboat that has long defined Boracay’s coastal identity, the installation transforms folded sail-like forms into a sculptural composition that evokes wind, movement, and the quiet rhythm of island life. It is both homage and reinterpretation, anchored in heritage, yet expressed through a distinctly contemporary visual language.

Balbarona, born in Hindang, Leyte in 1977, is known for her vibrant visual language that bridges abstraction, symbolism, and the delicate motif of origami cranes. She initially studied Food Science and Technology at the University of the Philippines Los Baños before fully dedicating herself to art. Her practice was further shaped by training at the Art Students League of New York under abstract painter Ronnie Landfield, expanding her exploration of color, form, and emotional resonance.

Her body of work often reflects themes of hope, healing, memory, and transformation, with the Japanese tradition of senbazuru (1,000 paper cranes) serving as a recurring symbol of aspiration and renewal. Over the years, she has exhibited in leading galleries including Galerie Joaquin, Galleria Nicolas, Galerie Raphael, and Galerie Stephanie, and was recognized as a finalist in both the 2017 GSIS National Art Competition and the 2017 Metrobank Art and Design Excellence competition.

In Paraw Sails Origami, these sensibilities converge in a spatial experience that extends beyond visual appreciation. The work becomes a meditation on journey-of travelers arriving on the island, and of the island itself as it continues to evolve.

Miss Kimberly Wong, COO of KABAN, extends her message: ‘At KABAN, we believe our spaces should inspire. By placing Jo’s work at the heart of our lobby, we ensure that every guest who enters is greeted not only by hospitality, but by culture and story.’

More than a design statement, the installation reflects Kaban’s broader vision of hospitality as an immersive cultural encounter, where art is not an accessory, but an essential part of place-making. As the property moves closer to its opening, Paraw Sails Origami stands as both a visual landmark and a quiet invitation: to experience Boracay not only as a destination, but as a living narrative shaped by art, memory, and movement.

KABAN Boracay redefines arrival as art – hospitality shaped by emotion and culture, not just space.

THE National Bureau of Investigation (NBI) on Wednesday announced the rescue of five Vietnamese nationals believed to be victims of human trafficking as the agency intensifies its ongoing efforts against such crime.

NBI Director Melvin A. Matibag said the rescue operation was initiated by the agents of the NBI-Human Trafficking Division (NBI-HTRAD) as part of its expanded operations to combat human trafficking through extensive surveillance and coordination with local and international law enforcement agencies.

The operation was conducted last August 11 following an intelligence report indicating that a Vietnamese national was involved in sex trafficking.

The individual was reportedly recruiting and transporting foreign women, including alleged minors, to Manila for commercial sexual exploitation.

Acting on the said information, an undercover agent from the NBI-HTRAD contacted the individual via Telegram.

During their interactions, the individual offered women for sexual services in exchange for payment.

After negotiations, the said individual agreed to deliver a woman of his choosing to a specific location, a hotel in Pasay City, where the undercover agent was waiting.

Subsequently, the NBI together with Pasay Social Welfare and Development Department (PSWDD) hatched an entrapment and rescue operation to capture the suspect.

During the operation, the operatives intercepted two Vietnamese women which include the woman offered by the suspect to the undercover agent and another one who has access to the Telegram account that was used in the transaction.

The rescued victims told the arresting officers that their belongings were in a unit in a condominium building in Pasay, prompting the operatives to accompany them to the said place.

While inside the unit, the NBI agents discovered a transparent plastic sachet containing suspected shabu and three drug paraphernalia items.

The trafficked victims admitted that they used these illegal drugs before every meeting with their clients.

During interrogation, one of the trafficked victims confessed that she had previously been housed in another condominium unit in Pasay with other women which led authorities to conduct a follow-up operation.

The NBI-HTRAD operatives proceeded to the condominium and were able to rescue three Vietnamese nationals, who were also victims of human trafficking.

Matibag commended the NBI-HTRAD agents for their successful operation against a notorious prostitution ring.

THE Anti-Red Tape Authority (ARTA) and the Japanese Chamber of Commerce and Industry of the Philippines Inc. (JCCIPI) forged a deal to strengthen the country’s business environment further and reinforce investor confidence.

ARTA and JCCIPI signed a memorandum of understanding (MOU) at the Embassy of Japan in the Philippines. The partnership formalizes closer linkages between the national government and the Japanese business community to advance regulatory reforms, improve government service delivery, and support the effective implementation of Republic Act 11032, or the ‘Ease of Doing Business and Efficient Government Service Delivery Act of 2018.’

Under the MOU, JCCIPI and its nearly 700 member companies and affiliated organizations nationwide will serve as ARTA champions, working alongside the agency to identify regulatory bottlenecks, report red tape and fixing activities, participate in policy consultations, and promote awareness of ease of doing business initiatives within the Japanese business community.

In turn, ARTA will craft capacity-building programs, endorse and resolve complaints involving violations of RA 11032, and seek JCCIPI’s recommendations in improving government regulations, systems, and procedures.

Reforms and benefits

JCCIPI President Shigeru Shimoda and Secretary Ernesto V. Perez, who serves as ARTA director general, signed the agreement. Ambassador of Japan Kazuya Endo; JCCIPI vice president Kazuhiro Nomura; Undersecretary Juabilly P. Racho, who is ARTA’s deputy director general for Regional Field Operations; and Undersecretary Lea-Grace Salcedo, who is the agency’s deputy director general for Operations, witnessed the signing.

In his remarks, Shimoda emphasized that regulatory efficiency remains a key factor in attracting investments and enabling businesses to grow. He reaffirmed JCCIPI’s commitment to working closely with the Philippine government to create a more transparent, efficient, and globally competitive business environment, then expressed confidence that the strengthened partnership with ARTA would lead to meaningful reforms and tangible benefits for both Japanese investors and the Philippine economy.

For his part, Perez underscored ARTA’s commitment to simplifying government processes and highlighted the importance of sustained private-sector engagement in shaping practical and responsive regulatory reforms.

Representing the Japanese government, Endo welcomed the strengthened collaboration between ARTA and JCCIPI, noting that initiatives that enhance regulatory efficiency contribute to a stronger investment climate and further deepen the longstanding economic partnership between Japan and the Philippines.

Shared commitment

JAPAN remains one of the Philippines’ largest sources of foreign direct investment, trade, and development cooperation. The MOU signing reflects ARTA and JCCIPI’s shared commitment to fostering a more predictable, transparent, and efficient regulatory environment that supports business growth, encourages greater investment, and enhances the Philippines’ competitiveness as an investment hub.

As one of the country’s largest foreign business organizations, JCCIPI continues to work closely with the Philippine government and its stakeholders to advocate policies that promote sustainable economic growth, facilitate trade and investment, and strengthen the enduring economic partnership between Japan and the Philippines.

Vice President Sara Duterte on Wednesday challenged the prosecutors and members of Congress to prove her impeachable offense ‘with evidence-not insults, speculation, or political theatrics.’

In a statement, Duterte said that if the prosecutors and members of Congress wanted to ‘legitimize’ the two impeachment complaints against her she claimed ‘filed without a shred of evidence,’ they should be confident in the strength of the case.

‘They should not be fishing for evidence during the trial or desperately try to turn something they wish to be true into a wild story of alleged wrongdoing,’ Duterte stressed.

A strong case, she also pointed out, does not need the adornment of theatrics.

She cited that a senator calling a witness ‘stupid,’ a lawyer calling her the ‘mastermind of a scam’ or another witness referring to her as a ‘brat’ does not prove a case, nor does it produce evidence.

‘Insults reveal the need to feign confidence in the face of a weak presentation,’ she said.

‘Mga kababayan, lubog na ang bansa sa baha at kahirapan, pero tila walang mananagot, dahil ang impeachment, ang paghati-hatian ang 2027 budget, at ang paghahanda kung papaano baliin ang Constitution para manatili sa puwesto ang prayoridad ng administrasyon at lahat ng kaalyado nito,’ she furthered.

The ‘senator’ Duterte was apparently referring to is Senator-Judge Raffy Tulfo who described former Office of the Vice President (OVP) special disbursing officer Gina Acosta as ‘stupid in the name of blind loyalty’ during the 17th day of the impeachment trial.

On Tuesday, the day 18 of the trial, private prosecutor Atty. Mae Divinagracia used the words ‘scam’ and ‘mastermind,’ which the prosecution lawyer used in her direct examination of OVP Asec. Lemuel Ortonio, a hostile witness.

Defense counsel Kristine Ferrer immediately objected and moved to strike the statement from the record.

‘Your honor, please, objection. Moved to strike, your honor, the statement,’ Ferrer said.

She then complained to the impeachment court about what she said is the frequent use of such terms by the prosecution, especially during their closing arguments.

‘We would like to ask the court to remind the prosecution not to use inappropriate words like scam, mastermind and nagsisinungaling. This is the third time your honor that we heard those words, specifically the word ‘scam.’ This is a solemn proceeding, this is a court of law, a court of procedures, and actually, a court of decorum and we are not supposed to make accusation, conclusion or insinuation, so we request the court to kindly remind the prosecution,’ Ferrer said.

‘It does seem that it’s becoming a habit. I would rather use the word ‘habit’ than ‘pattern’ for the panel of prosecutors to close their direct examination with such strong statements,’ Ferrer added.

The defense counsel said such words were ‘inappropriate’ for the proceedings.

Presiding Officer Francis ‘Chiz’ Escudero said he agreed with the defense on the matter.

Duterte was also referring to the July 21, 2026, trial wherein during cross-examination by defense lawyer Mark Vinluan National Bureau of Investigation Director Melvin Matibag stated that he heard the term ‘bratinella’ used by former President Rodrigo Duterte when referring to the Vice President.

Leading questions not misleading questions

Defense counsel Kristine Ferrer clarified during the 19th day of the impeachment trial that she meant to say ‘leading questions,’ not ‘misleading questions,’ were allowed during the cross-examination on August 12 impeachment trial.

However, private prosecutor Lorna Kapunan was not convinced, and maintained that Ferrer had been referring to misleading questions.

‘Before I start my cross-examination, just to put the record straight, your honor. When I said they are allowed, I was referring to leading questions,’ said Ferrer who raised the matter before she started her cross- examination of Office of the Vice President Assistant Secretary and Assistant Chief of Staff Lemuel Ortonio.

‘Because the journal dated August 12 would show that I was indeed asking a leading question before Atty. Kapunan objected, your honor,’ she added, recalling the incident when she cross-examined of Commission on Audit auditor Xylene Mae del Campo.

Ferrer also said she should be allowed to ask questions in her own manner.

She said she was asking a leading question to del Campo when Kapunan objected.

‘So, if we take a look at it, with all due respect, the objection was even improper at that time, your honor,’ Ferrer said.

Kapunan, however, said that some questions are not simply answerable by a simple yes or no.

Spokesperson for the defense team Atty. Michael Poa emphasized their team’s commitment following the rulings of the impeachment court, including the recent order concerning their public statements.

Senate Impeachment Court Presiding Officer Francis ‘Chiz’ Escudero on Wednesday issued a strict enforcement of the sub judice rule, prohibiting public discussions, media commentary, or outside statements regarding the merits of the active case.

However, due to the matter, Poa said that he will discuss with Duterte. He also apologized to the members of the media after he declined some scheduled interviews

‘But I appreciate, of course, the ruling of the presiding officer,’ he said, adding that he totally agree to the decision.

‘But to be honest, we don’t want to comment any further,’ he said.

Poa also said that the defense is actively looking for a new spokesperson to better manage communications and explain the technical legal process to the public.

The ancient Philippine boat balangay is the symbol of Cinemalaya Independent Film Festival ‘because it is the vessel that carries new filmmakers and their stories across rough seas.’

The core mission of Cinemalaya is to discover, nurture, and empower new cinematic voices in the Philippines.

Founded in 2005 by the Cultural Center of the Philippines, it strives to give voice to overlooked Filipino stories, promote artistic excellence, and revitalize Philippine independent cinema.

From 2005 to 2009, there was only one Full length film category. From 2010 to 2014, the competition was divided into two: the Directors’ Showcase and the New Breed. Then it reverted to one Full length in 2015.

The Directors’ Showcase was created for veteran Filipino filmmakers as a platform to push artistic boundaries and create independent works free from mainstream commercial constraints. The New Breed is for the amateur/debut filmmakers.

Only short films competed in 2015, 2020 and 2021.

The early winning films in the Full length category are ‘Pepot Artista’ (2005), ‘Tulad ng Dati’ (2006), ‘Tribu’ (2007), ‘Jay’ (2008), and ‘Last Supper No. 3′ (2009).

The winners in the Directors’ showcase are ‘Donor’ (2010), ‘Bisperas’ (2011), ‘Posas’ (2012), ‘Sana Dati’ (2013), and ‘Kasal’ (2014). The New Breed winners are ‘Halaw’ (2010), ‘Ang Babae sa Septic Tank’ (2011), ‘Diablo’ (2012), ‘Transit’ (2013), and ‘Bwaya’ (2014).

The winners in the Main Full length competition are ‘Pamilya Ordinaryo’ (2016), ‘Respeto’ (2017), ‘Kung Paano Hinihintay ang Dapithapon’ (2018), ‘John Denver Trending’ (2019), ‘The Baseball Player’ (2022), ‘Iti Mapukpukaw’ (2023), ‘Tumandok’ (2024), ‘Bloom Where You Are Planted’ (2025) and ‘Mag-iina’ (2026).

The early winners as Best Actor in the full length feature include Eddie Garcia for ‘ICU Bed #7’ (2005), ‘Alchris Galura for Batad’ (2006), the male ensemble of ‘Tribu’ (2007), Baron Geisler for ‘Jay’ (2008) and Lou Veloso for ‘Colorum’ (2009).

Best Actress awardees include Meryll Soriano for ‘Room Boy’ (2005), Angel Aquino for ‘Donsol’ (2006), Ina Feleo for ‘Endo’ (2007), Mylene Dizon for ‘100’ (2008), and Ina Feleo for ‘Sanglaan’ (2009).

Best Actors in the Directors’ showcase are Baron Geisler for ‘Donor’ (2010), Bembol Roco for ‘Isda’ (2011), Eddie Garcia for ‘Bwakaw’ (2012), Robert Arevalo for ‘Hari ng Tondo’ (2014). There was no awardee in 2013.

Best Actors in the New Breed are John Arcilla for ‘Halaw’ (2010), Edgar Allan Guzman for ‘Ligo na Ü, Lapit na Me’ (2011), Kristoffer King for ‘Oros’ (2012), Mimi Juareza for ‘Quick Change’ (2013), and Dante Rivero for ‘1st Ko Si 3rd’ (2014).

Best Actors in the Full-Length Features include Tommy Abuel for ‘Dagsin’ (2016), Noel Comia Jr. for ‘Kiko Boksingero’ (2017), Eddie Garcia for ‘ML’ (2018), Jansen Magpusao for John Denver ‘Trending’ (2019), Tommy Alejandrino for ‘The Baseball Player’ (2022), Mikoy Morales for ‘Tether’ (2023), Enzo Osorio for ‘The Hearing’ (2024), Jojit Lorenzo for ‘Habang Nilalamon ng Hydra ang Kasaysayan’ (2025), and Martin del Rosario for ‘Tayo Lang Ang Nakakaalam’ (2026).

Best Actress awardees in the Directors’ showcase include Meryll Soriano for ‘Donor’ (2010), Raquel Villavicencio for ‘Bisperas’ (2011), Vilma Santos for ‘Ekstra’ (2013), and Nora Aunor for ‘Hustisya’ (2014).

Best Actress awardees in the New Breed include Lovi Poe for ‘Mayohan’ (2010), Eugene Domingo for ‘Ang Babae sa Septic Tank’ (2011), Ama Quiambao for ‘Diablo’ (2012), Irma Adlawan for ‘Transit’ (2013), and Eula Valdes for ‘Dagitab’ (2014).

Best actress in the Full-Length Features include Hasmine Kilip for ‘Pamilya Ordinaryo’ (2016), Angeli Bayani for ‘Bagahe’ (2017), Ai-ai delas Alas for ‘School Service’ (2018), Ruby Ruiz for ‘Iska’ (2019), Max Eigenmann for ’12 Weeks’ (2022), Pat Tingjuy for ‘Rookie’ (2023), Gabby Padilla for ‘Kono Basho,’ and Marian Rivera for ‘Balota’ (2024), Mylene Dizon for ‘Habang Nilalamon ng Hydra ang Kasaysayan’ (2025), Marietta ‘Pokwang’ Subong for ‘2 Valid IDs’ (2026).

The latest victory by character actress Ruby Ruiz marks her fourth Balanghai trophy, cementing her place in the festival’s history with the most number of acting citations: two Best actress for ‘Iska’ (2019) and ‘Status: Rejected’ (2026), while two Best Supporting Actress for ‘Ekstra’ (2013) and ‘Ginhawa’ (2022).

She officially surpassed the longtime acting record previously held by the late Eddie Garcia. He won Best Actor thrice for ‘ICU Bed#7’ (2005), ‘Bwakaw’ (2012), and ‘ML’ (2018).

Baron Geisler won Best Actor twice for ‘Jay’ (2008) and ‘Donor’ (2010).

Two actresses won the Best Actress awards twice: Merylle Soriano for ‘Room Boy’ (2005) and ‘Donor’ (2010), and Ina Feleo for ‘Endo’ (2007) and ‘Sanglaan’ (2009).

Ruiz shared the 2026 Best Actress award for Status: Rejected, in a tie with Marietta ‘Pokwang’ Subong ‘2 Valid IDs.’

The youngest winner of Best Actor award was Noel Comia Jr. for ‘Kiko Boksingero’ (2017) when he was 13 years old, followed by 5-year-olds Ansen Magpusao for ‘John Denver Trending’ (2019) and Enzo Osorio for ‘The Hearing’ (2024).

Nathan Lopez was also 13 when he was given Special Citation for ‘Ang Pagdadalaga ni Maximo Oliveros’ (2005).

Atty. Dennis R. Gorecho heads the Seafarers’ Division of the Sapalo Velez Bundang Bulilan Law Offices. For comments, e-mail info@sapalovelez.com, or call 0908-8665786.

HAVING children who are 20 and 17 now, I am continuously learning that parenting teenagers involves learning when to hold on and when to let go. Today, that independence unfolds in a digital world that changes faster than most parents can follow. At the recent TikTok #ThinkTwice Troop Townhall I attended, one message stayed with me: Our job as parents is not to know everything our teens know, but to keep the relationship strong enough that they still want us beside them as they navigate it.

Kuya Kim Atienza, veteran television host, educator and parent creator, captured this generational reality simply: ‘Teens nowadays are different. We just have to accept, as parents, that teens are different, and we have to speak their language.’ He continued, ‘We just have to listen without judging and meet them where they are. As we meet them where they are, we also have to learn their language. We will not be able to meet them where they are if we’re not on social media.’

That does not mean parents must imitate their teenagers or follow every trend. It means understanding enough of their environment to have a meaningful conversation about it. I picked up from him that our authority cannot depend only on the favorite phrase ‘Because I said so,’ like how our parents raised us in the past.

The digital age also makes adolescence more complicated. Dr. Francis Dimalanta described how identity exploration now happens before an audience and in real time, with algorithmically generated feedback.

Online spaces can offer belonging, but their always-on qualities can also bring risks involving sleep, social comparison and cyberbullying. The digital world is not simply good or bad. It is a space our teens are inhabiting, and they need support and guidance from people they can truly trust. This connects with Sheila Estabillo of Plan International Pilipinas, who said: ‘Each of us has a role to play. Our ultimate goal here is not to remove teens from the digital environment, but to equip them with the necessary practical skills so they can safely navigate the online environment safely, critically and responsibly.’

My interview with undersecretary Angelo Tapales of the Council for the Welfare of Children helped place this family conversation within a wider system of child protection. He explained that the council is an interagency government body attached to the Department of Social Welfare and Development, and discussed the Makabata Helpline 1383 as a central mechanism for children’s concerns operating 24/7. He described linkages with government partners including the PNP and NBI among others, for relevant concerns, as well as connections for mental-health cases that need escalation.

Usec. Tapales also discussed the council’s work with the Department of Education, including linking the Makabata Helpline with the DepEd hotline to address bullying, cyberbullying and other concerns involving children. His broader point was that child protection begins at home but continues in school and in the community. This matters in a digital age because online harm does not stay neatly online. The people and institutions surrounding a child need ways to respond together.

Another point from my interview struck close to my own advocacy: Play. Usec. Tapales highligted that under the UN Convention on the Rights of the Child, children have a right to play-not only games and leisure, but open spaces where they can play. For families living with screens, this reminds us that digital balance is not only about what we remove. It is also about what we make room for-play, movement, rest, family time and real-world relationships.

Dr. Francis Dimalanta has been a long advocate of play. He has shared his Age-by-Age L.E.A.R.N (Learn, Explore, Art and Active, Read and Nurture) play regimen for 0-8 years old through Ogalala. I learned that time spent in various types of play with my children through the years, has set a strong foundation for our open conversations today, of both their physical and digital worlds.

I believe parenting a teen in the digital age is not about winning a race against technology. We probably cannot. It is about making sure technology does not outrun our relationship with our child. We can learn their language without surrendering our values, set boundaries without becoming a police figure, and listen without immediately judging. Our teens may explore a world very different from the one we knew, but they still need something timeless: a home for a question, a mistake, an uncomfortable experience brought forth or a new idea, and know that conversation is still open. In a world of many links, feeds and algorithms, perhaps our strongest connection will always be the human one.

As parents, grandparents, titos, titas, ninongs and ninangs, let’s build this foundational and much-needed connection with children around us today, to guide them in developing skills toward a healthy mental and social environment for themselves.

A new chapter in MG Motor Philippines’ electrification journey is

about to begin, as the brand prepares to introduce the new MG S5 EV and launch the MG New Energy Tour 2026, bringing its latest electrified vehicles and technologies closer to Filipino motorists.

Set to take place on August 27, 2026, at the Trinoma Activity Center, the upcoming event will mark both the Philippine debut of the MG S5 EV and the official kickoff of MG’s nationwide New Energy roadshow. Together, the launch and tour reflect MG’s continued push to make electrified mobility more accessible, practical, and relevant to the everyday Filipino driver. At the center of the occasion is the MG S5 EV, an all-electric compact SUV designed around the demands of everyday driving. Combining sporty rear-wheel-drive performance with the versatility of an SUV, the S5 EV is positioned to offer an electric driving experience that is engaging enough for enthusiasts while remaining practical for daily commutes, errands, family trips, and weekend drives.

While the S5 EV represents MG’s latest move into fully electric mobility, its arrival also forms part of a larger push to help Filipino motorists better understand and experience the growing range of New Energy technologies available today.

This is where the MG New Energy Tour 2026 comes in.

Launching alongside the S5 EV in Manila, the nationwide roadshow will bring MG’s electrified lineup directly to motorists in different parts of the country. The tour will feature MG’s range of Hybrid+, Plug-in Hybrid, and Battery Electric Vehicles, giving visitors the opportunity to see the vehicles up close, explore their technologies, participate in interactive experiences, and get behind the wheel through test drives.

The roadshow will continue to different regions in the next months, bringing the New Energy experience to more communities and giving more Filipino motorists the opportunity to discover which type of electrified mobility best suits their lifestyle. For MG Philippines, the goal is to make New Energy mobility easier to understand and experience as the expanding range gives customers more choices when they consider the next vehicle for their daily lives.

The upcoming Manila event therefore marks the beginning of more than a new vehicle launch. It starts a nationwide conversation around how electrified mobility can become part of the way Filipinos drive every day. Customers, automotive enthusiasts, and the public are invited to join MG Motor Philippines on August 27, 2026 at the Trinoma Activity Center for the official unveiling of the new MG S5 EV and the launch of the MG New Energy Tour 2026.