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Jobin-SQM, Inc. (JSI), a subsidiary of Nickel Asia Corporation’s (NAC) clean energy arm Emerging Power, Inc. (EPI) highlighted the crucial role of the Ayta Ambala community in promoting sustainability during its celebration of Indigenous Peoples’ (IP) Month in Sitio Pastolan, Barangay Tipo, Hermosa, Bataan.

As part of the commemoration, JSI held its 7th Ayta MasterChef, where members of the Ambala tribe showcased their ‘Ayta-style’ dishes using traditional cooking skills and ingredients sourced from the forest such as wild chicken (labuyo), bilwa, and bilukaw.

Catalina Soriano, a member of the Ambala community, believes that the event is more than a competition – it highlights IPs can support modern development while preserving traditional cultural knowledge, biodiversity, and natural resources for the sustained use of future generations.

‘Lahat po ng ginamit sa pagluluto galing sa gubat kaya ang aral ng MasterChef, sa pag-unlad kailangan may matitira para sa kinabukasan ng katutubo na magagamit sa panghabangbuhay,’ says Soriano.

National Commission on Indigenous Peoples (NCIP) Provincial Officer Ronie Caanawan underscored the importance of celebrating IP Month in empowering indigenous communities as stewards of their environment and promoting sustainable practices to ensure well-being.

Caanawan recognized the support of JSI in honoring the traditions of the Ayta Ambala community, reflecting its commitment to UN Sustainable Development Goal (SDG) 17 – Partnership for the Goals, by supporting programs that strengthen cultural pride, unity, and inclusivity. He added that the celebration honors the Indigenous Peoples Rights Act (IPRA) which safeguards IP cultural heritage and land.

JSI’s commemoration of IP Month aligns with NAC’s wider sustainability goals which include indigenous peoples’ partnerships, the promotion of cultural heritage, and advancement of environmental stewardship. Through initiatives like this, NAC and its subsidiaries demonstrate how corporate social responsibility can go hand in hand with community development and ecological preservation.

This year’s celebration was done in collaboration with the Tribong Ayta Ambala ng Pastolan (TAAPI) with support from the Local Government Unit of Tipo in Zambales, Subic Bay Metropolitan Authority (SBMA), and the NCIP.

JSI operates a 172 MW solar power plant in Mt. Sta Rita, Subic Bay Freeport Zone – one of the largest single solar power generation plants connected to the national power grid in the country.

Eggdrop, Korea’s original premium gourmet egg sandwich brand, has arrived in Bonifacio Global City with the opening of its second store in the Philippines. Building on the success of its Mall of Asia debut, Eggdrop continues to share its beloved menu, crafted with premium ingredients and inspired by Korea’s dynamic food culture, with even more Filipino food lovers.

A trailblazer in Korea’s food and beverage scene, Eggdrop first made waves in 2017 when it introduced the country’s very first premium gourmet egg sandwich. Since then, it has grown to over 290 locations across South Korea, becoming a household name thanks to its innovative recipes, exclusive brioche bread, and appearances in K-Dramas, K-Pop culture, and global food media.

‘We’re thrilled to continue Eggdrop’s Philippine journey here in BGC,’ says Stewart Lee Ong, President of Butter and Salt Group Inc., the franchise partner of Eggdrop in Manila. ‘This location allows us to connect with a diverse mix of residents, professionals, and cultural tastemakers, all while staying true to what makes Eggdrop special-authentic Korean flavors, premium quality, and a dining experience worth sharing.’

A Perfect Fit for BGC’s Energy and Lifestyle

Much like the district itself, Eggdrop blends modern style with cultural depth, offering food that’s not just a passing trend but a lifestyle staple for those who crave comfort, taste, and quality in every bite.

From Korea’s Favorite to the Filipino Lifestyle

Eggdrop’s popularity is built on its commitment to quality-using A+ grade eggs, fresh ingredients, and its signature brioche bread developed exclusively for the brand. The BGC store will feature its most iconic sandwiches straight from Korea, including:

Mr. Egg – Fluffy scrambled eggs, cheese, and Eggdrop’s signature sauce for a creamy, satisfying finish.

Bacon Double Cheese – Crispy bacon, double the melted cheese, and scrambled eggs layered on signature brioche bread.

Garlic Bacon Cheese – Garlic butter, crispy bacon, melted cheese, and scrambled eggs for a bold, savory favorite.

Korea meets BGC! Content creator Jessica Lee digs into her favorite Eggdrop sandwich at the brand’s newest store in Bonifacio Global City.

Each sandwich is designed to be both delicious and visually appealing-perfect for enjoying in-store or sharing online.

Expanding the Eggdrop Experience

The BGC opening marks a key milestone in Eggdrop’s Philippine expansion, with plans to bring the authentic Korean gourmet egg sandwich experience to more Filipino communities in the coming years.

‘Eggdrop’s success has always been rooted in authenticity and quality,’ adds Ong. ‘We’re committed to delivering the same experience that made Eggdrop a household name in Korea, while making it a part of the Filipino everyday.’

DigiPlus Interactive Corp. (DigiPlus), the country’s digital entertainment provider behind BingoPlus, ArenaPlus, and GameZone, achieved a major milestone in corporate governance excellence by earning its first-ever Golden Arrow Award.

The recognition was conferred on Oct. 23, 2025, during the awarding ceremony organized by the Institute of Corporate Directors (ICD), the Philippines’ Domestic Ranking Body (DRB) for the ASEAN Corporate Governance Scorecard (ACGS).

DigiPlus received a 2-Golden Arrow Award, one of the five levels of distinction granted to publicly listed companies that demonstrate outstanding corporate governance performance.

The Golden Arrow Recognition is among the Philippines’ most prestigious corporate honors, recognizing companies that lead in transparency, accountability, and integrity.

Anchored on the ACGS framework, it evaluates how effectively organizations uphold shareholder rights, engage stakeholders, promote sustainability, ensure transparency, and maintain strong board oversight in alignment with both local and international governance standards.

‘Earning our first Golden Arrow affirms DigiPlus’ commitment to upholding the highest standards of corporate governance,’ said DigiPlus Chairman Eusebio H. Tanco. ‘We are proud to be recognized among the country’s most trusted, publicly-listed companies and remain focused on creating long-term value for our shareholders, stakeholders, and the customers and the communities we serve by leading with transparency, accountability, and integrity.’

SUSPICIOUS ACTIVITIES

NOBODY talks about the dubious political affiliations of these two A-listers. One is an actor who endorsed the political party of politician now considered a fugitive of sorts. The actor is well-liked in the business because he acts well and is nice to people. His girlfriend is someone who is known for having a strong sense of right and wrong. Meanwhile, the second A-lister is an actress who has appeared at political rallies and events connected to politicians who are not known for having integrity and credibility. Even now that the elections are over, the actress is still into these activities. People say it is because she needs money as she has had no big projects or endorsements and this is possible.

STARLET’S WOES

DID the starlet leave an event after people started doing political chants? Why was she not in the after-event photo of their group of friends. Apparently, she had another engagement and was not scared of the politically-charged atnosphere at the event. Another of their friends with the same political affiliation as the starlet was also there but she stayed through the chanting. The extent of the loss is not yet known but for sure, a magazine cover was not released and a whitening product has put her endorsement on hold. The starlet, it appears, has not yet learned her lesson. She continues to make snide remarks about her bashers when most of these people bash her simply because of her political statements.

CATFIGHT

IT looks like it was not just two people in her friend group who unfollowed a starlet because of rumors and innuendoes. This is not the first time that the starlet lost friends but this time, her frenemy made public certain chats that really implicate her. The starlet recently had a falling-out with a person who worked with her, and also a relative for reasons still unclear. But this time, the starlet was said to have tried to engage troll farms to discredit another starlet who she felt was encroaching on her territory. You’d think people would have better things to do with their time but it seems that they don’t.

NO EVENTS FOR NOW

SPEAKING of lost endorsements, the celebrity still has not lost any but the brands she endorses have put on hold any activities or events that involve her. She is also not being featured on their social media pages. The celebrity is busy engaging troll farms to block people on social media, even those who don’t name her. She has separate troll farms for blocking her bashers, praising in comment sections, and bashing her perceived rivals. She is also busy with photo shoots to show people on social media that she’s still very much in-demand when even the beauty brands that loyally seed products to her are staying away. She continues to blame others for her misfortune. One favorite target is the rival she hates the most.

Asia’s Fearless Diva, Jona Viray, is set to celebrate two decades of musical brilliance with her milestone concert, JONA: Journey To The Arena, happening November 8, 2025, at the SM Mall of Asia (MOA) Arena. This highly anticipated event promises electrifying performances and a grand tribute to Jona’s remarkable journey in the OPM scene.

Fans can expect unforgettable moments at the event, including a heartfelt reunion with songwriter Aicelle Santos, a showstopping performance by singer-actress Maricris Garcia, a highly anticipated collaboration with vocal powerhouse Jed Madela, and a special appearance by rising P-Pop boy group ALAMAT.

Since capturing hearts as the first Pinoy Pop Superstar in 2004, Jona has soared to become one of the Philippines’ most celebrated vocalists. Sharing the stage with OPM legends and carving out her own legacy, her performances at the SM Mall of Asia Arena have showcased her artistic evolution and enduring influence as Asia’s Fearless Diva.

A standout moment at the venue was when Jona joined global sensation 98 Degrees last May, delivering a performance that left the audience buzzing long after the final note had been played.

Jona also wowed audiences at Regine Velasquez-Alcasid’s Silver Rewind concert in January 2013, performing with her former group La Diva. Her flawless vocals and magnetic stage presence reminded everyone why she remains one of the nation’s most extraordinary talents.

?Reflecting on her 20-year journey in a recent interview, Jona expressed heartfelt gratitude for the many blessings that have brought her this far, thanking the Lord, her family, and her loyal fans for their unwavering support.

Fans will have the chance to show their love and appreciation as Jona takes the stage for a spectacular 20th anniversary performance. Seat tiers and prices are as follows:

SVIP: 5,800 Php

VIP: 4,500 Php

Lower Box Premium: 3,500 Php

Lower Box Regular: 2,500 Php

Upper Box: 1,200 Php

General Admission: 860 Php

Tickets are now available for purchase at any SM Tickets outlet nationwide, or you can purchase them online at smtickets.com.

Renowned for showcasing the best in local and international talent, the SM Mall of Asia Arena stands as the ultimate destination for unforgettable live events and milestone celebrations.

The Commission on Audit (COA) has submitted four additional Fraud Audit Reports to the Independent Commission for Infrastructure (ICI), exposing further irregularities in flood control projects managed by the Department of Public Works and Highways (DPWH) – Bulacan 1st District Engineering Office.

These reports detail cases of mismatched sites, ghost projects, and the use of substandard materials, leading to significant public funds being misspent.

SYMS Construction Trading

Balagtas River Project (P46.35 million): Despite full payment, no real construction was found at the approved site. DPWH representatives directed COA to a different location where a structure made of unsuitable materials and exposed steel bars was observed. DPWH’s own records showed 0.00% completion.

Maycapiz-Taliptip River Project (P92.59 million): This project was reported as 100% accomplished and fully paid, yet COA found no flood control structure during inspection, labeling it a ‘ghost project.’

L.R. Tiqui Builders, Inc. and M3 Konstract Corporation (Joint Venture)

Barangay Piel, Baliuag Project (P96.50 million): Satellite imagery revealed an existing flood control structure at the approved site even before the contract began. DPWH pointed COA to an incorrect site, where an existing structure failed to meet project specifications.

DARCY and ANNA BUILDERS and TRADING

Barangay Carillo, Hagonoy Project (P74.11 million): Despite a supposed completion date of October 3, 2024, satellite images and COA’s inspection confirmed no structure was built at the approved site.

In all cases, DPWH-Bulacan 1st DEO failed to provide crucial supporting documents to COA, hindering validation of the projects.

Individuals Held Liable

Several individuals from DPWH-Bulacan 1st DEO have been identified as liable, including District Engineer Henry C. Alcantara, Assistant District Engineer Brice Ericson D. Hernandez, and Planning and Design Section Chief Ernesto C. Galang, along with various project engineers and company representatives from the involved contractors.

Those implicated may face charges under the Anti-Graft and Corrupt Practices Act, Revised Penal Code for malversation and falsification of documents, and violations of COA Circular No. 2009-001 and the Government Procurement Reform Act.

These audit findings will support the ICI’s ongoing investigation into government infrastructure project irregularities. COA Chairperson Cordoba’s directive on August 12, 2025, initiated an immediate audit of all DPWH flood control projects in Bulacan from July 1, 2022, to May 30, 2025. This new batch of reports contributes to the 25 Fraud Audit Reports already submitted to oversight bodies, reinforcing COA’s commitment to transparency and protecting public funds, in line with President Ferdinand Marcos Jr.’s call for accountability. Additional reports are expected as the audit continues.

For 19 years, Boys Night Out (BNO) wasn’t just a radio show, it was a nightly ritual. From the chaotic laughter, to the unfiltered talk, TonyToni, Slick Rick, and Sam YG (later with Gino and Tin) built something that went beyond the booth. It wasn’t just radio-it was family.

‘The last 19 years didn’t feel like 19 years-it just felt like hanging out with people I love being around,’ shared Slick. ‘And we did a good job because we loved what we were doing.’

Night after night, listeners found comfort in familiar voices that made them laugh through the chaos, heal through heartbreak, and feel a little less alone.

The best nights, the realest moments

Of all the unforgettable moments in BNO history, TonyToni recalls that none hit harder than the night ‘Jojo, the Love Survivor’ called in 2012.

‘Tumawag siya kasi gusto niyang tumalon sa building sa Ortigas because he found his girlfriend cheating,’ recalled TonyToni.

For 45 minutes, the Boys, joined by Ramon Bautista that night, did what they’ve always done best: they listened. They talked Jojo through the pain, cracked jokes to make him smile, and convinced him to hold on. In that moment, what began as a radio show, became something far more profound-a lifeline.

Jojo eventually became a regular, proving that BNO was never just about talk; it was about taking care of your own.

From LOLs to life lessons

Over nearly two decades, fans witnessed the Boys’ own milestones unfold in real time from singlehood confessions and late-night antics to life-changing transitions into marriage and fatherhood. Then came Tin, who brought a new spark to the show: a sharp, funny, and fearless female voice who could go toe-to-toe with the Boys.

‘It was really me joining such radio legends’, said Tin. ‘I’m the only girl amongst four boys, and I think that’s also why I’m there. I balance them sometimes and I offer a different perspective. It was also a big sign that the show and the hosts themselves were evolving. Everyday women, who are smart, who are opinionated, they welcome us with open arms. And they never told us to be less. They just told us to be us.’

And as the show grew up, so did its hosts. From late nights out to quiet twilights in, BNO became proof that you can settle down without losing your spark. The stories changed, but the laughs and the frenzy never did.

Even COVID couldn’t keep them apart. In true BNO fashion, the Boys caught the virus together, turning an uncertain time into another shared experience. Through isolation and fear, they found ways to laugh on-air, reminding fans that humor could still exist even in the darkest days.

The Last Night Out: One Final Ride

As fate would have it though, things took an uncanny, unfortunate turn, and Boys Night Out was not allowed to air that much-awaited finale show.

But the Boys refuse to end it that way. And are coming together for The Last Night Out.

This is BNO’s final bow-a toast to the spirit that kept the show alive for 19 yars continues, in stories like Jojo’s, in milestones shared, and memories that refuse to fade.

‘Last Night Out is actually not for us. This is the night that we give back,’ says Sam. ‘This is us honoring every single person who was part of Boys Night Out and who made it the show that it was for 19 years.’

‘They say you’re only good ’til your last show,’ adds TonyToni. ‘So I feel like fans deserve a last show. I think they deserve a goodbye.’

So join TonyToni, Slick Rick, Sam YG, Tin, and Gino for The Last Night Out, a grand finale celebrating almost two decades of laughter, love, and late-night magic.

The Lighthouse Group teams up with the Boys to mount this fitting closure-a true celebration of 19 years of Boys Night Out on the radio.

Stay tuned and follow BNO’s official pages for ticketing details and announcements.

‘What people can expect is, everything that you grew up with listening to BNO, you’ll get to see, you’ll get to hear,’ share Gino. ‘It’s a celebration essentially, as cliché as it might be, of the 19 years of Boys Night Out. Saktong inuman, saktong tambay and hopefully, like what we always aim for every show, we’ll leave you entertained.’

On November 10, get ready to shout one last time: ‘Yeah, meenn!’

The demographic dividend is the idea that a country will be able to experience a period of rapid growth when its population becomes dominated by a higher share of working age individuals compared to dependents.

This normally occurs after a country transitions from a high fertility and high mortality state to a low fertility and low mortality state.

The Philippines is now in a demographic dividend era with the working age (defined as 15-64) share in the population already exceeding the share of the dependent age (below 15 and above 65), according to a recent report by the International Monetary Fund.

The mechanism through which the demographic dividend is transmitted is straightforward. With fewer children, families and the state will be able to invest more in the human capital (education and health) of children. Children with more human capital can be expected to be more productive workers. More productive and a larger share of workers in the population would result in higher savings for the country, leading to more domestic investments. All of these translate to higher economic output per capita for the country.

The state plays a vital role through policies that promote human capital build up and by investing in education and training and fostering a conducive environment for employment creation.

The past decade or so has, in fact, seen some major state policies targeting human capital build up among the youth. Perhaps the most important of these are the Enhanced Basic Education Act of 2013 (RA 10533) and the Universal Access to Quality Tertiary Education Act of 2017 (RA 10931).

RA 10533 included the adoption of the senior high school (SHS) curriculum, which added two years to secondary education (with the very first Grade 11 students entering in school year 2016-2017). RA 10931 provided free tuition in public universities and colleges, and expanded the number of local universities and colleges.

These policies have had substantial impact on access to education among the youth. Analysis of the Philippine Statistics Authority’s Labor Force Surveys for October 2014 (before the implementation of the SHS curriculum) and October 2024 (most recent micro data available), show that the enrollment rate among the youth most likely to be affected by the policies (16-20 years of age) increased from 55 percent in 2014 to 81 percent in 2024.

In a decade’s time, the share of the youth (defined as 16-20 years old) not enrolled declined from close to half to less than a fifth. While not all the change can be attributed to the policies, there are strong indications that they account for a big share of the achievement.

Both males and females benefitted. Enrollment increased from 51 percent to 77 percent rate for the male youth and from 58 percent to 85 percent for the female youth.

Of course, while access has improved over that period, there is no evidence that the quality of education has also improved during the period. The Philippines was a laggard in both the 2018 and 2022 PISA exams overall, although performance differed significantly by public and private status. The PISA targeted to 15-year-olds, however, and would exclude those impacted by the SHS curriculum.

In terms of employment, the labor force participation of the youth declined, as to be expected because more of them are schooling. The labor force participation declined from 36 percent in 2014 to only 20 percent in 2024. This decline is not a bad thing if the youth are accumulating human capital.

Among the youth who decided to participate in the labor force, the unemployment rate was lower at 11 percent in 2024 compared to 14 percent in 2014. The underemployment rate-the share of the employed who want more hours of work, which is an indication of the quality of jobs they have-was also lower at 11 percent in 2024 compared to 18 percent in 2014.

The declines in unemployment and underemployment occurred for both the male and female youth, with the gains slightly greater for the male youth.

There are thus indications that there is some improved employment creation for the youth who decide to join the labor force.

The demographic dividend window has just opened for the Philippines. The experience of other countries is that this window, if accompanied by a continuous decline in fertility rate and a decline in the population, is soon followed by a challenging period when there could be an actual decline in the working age population, which would put a strain on government tax revenues and the sustainability of government programs and social security system.

This is more reason to take advantage of the window. There is need for greater focus on raising the quality of education not just access and this should be reflected in its budget allocation. This might require some difficult decision involving putting a cap on free tertiary education in order to invest more on raising the quality of educational institutions.

Improved quality of education will create more flexible and adaptable workers, which will allow them to get good quality jobs in an environment where technology, especially artificial intelligence, threaten many of the traditional jobs the youth depend on.

New York Comic Con closed its 2025 edition with more than 250,000 people filling the Javits Center for four days of pop culture, comics, and film. The event ran from October 9 to 12 and brought together artists, studios, and fans from across the country. City officials estimate a thirty-five-million-dollar boost to New York’s economy from the weekend.

The convention floor moved steadily from one headline to another. Major panels introduced upcoming titles from HBO, Apple TV Plus, Prime Video, FX, Paramount, and Netflix. A Knight of the Seven Kingdoms, Slow Horses, Cross, Alien: Earth, The Running Man, IT: Welcome to Derry, The Beauty, Hazbin Hotel, The Walking Dead: Daryl Dixon, Star Trek: Strange New Worlds, and Jurassic World: Chaos Theory all drew full rooms.

James McAvoy, Elliot Page, Sigourney Weaver, Simu Liu, Laurence Fishburne, and Bryce Dallas Howard greeted fans and spoke about new work. Voice actors from Avatar: The Last Airbender, Bob’s Burgers, and Critical Role joined anniversary sessions that celebrated their long-running shows. Post Malone appeared for a talk on his comic Big Rig, while Marvel and DC outlined their upcoming print titles.

Inside Artist Alley, more than five hundred illustrators and writers met their readers. George R. R. Martin, J. Scott Campbell, Jeph Loeb, Scott Snyder, Greg Capullo, Kim-Joy, Daniel Warren Johnson, Joe Hill, Arthur Adams, Denys Cowan, and Marjorie Liu signed books and sketched through the weekend.

Over six hundred fifty exhibitors filled the main hall. Funko, Bandai, Marvel, Penguin Random House, Scholastic, Capcom, and Webtoon presented exclusive merchandise and releases that kept lines moving from morning to evening.

The Cosplay Central Crown Championships qualifier held on October 11 remained one of the most photographed moments of the show. Say No to Scrunchies won first place and one thousand dollars for a wall clicker costume from The Last of Us, earning a slot at the 2026 national finals in Chicago. Annie Ex Machina took second and the fan favorite award for Critical Role’s Mollymauk Tealeaf, while Akellyz placed third as the Korok Sage from The Legend of Zelda: Tears of the Kingdom.

Judges Sayakat Cosplay, Silhouette, and May Jean Cosplay selected winners for craftsmanship and performance. Warheart Cosplay took the Armor category, Honeybird Cosplay won Needlework, and Rotten Artist earned top marks for FX with an Oni Minotaur from Dead by Daylight.

Kristina Rogers, Vice President of ReedPop’s U.S. Comics Portfolio, said Comic Con continues to thrive because of its people. ‘Every year we are reminded that this is more than a convention, it is a community. The energy and passion of fans make it what it is.’

For those watching remotely, the Main and Empire stages were streamed daily through Popverse and NYCC’s social channels.

New York Comic Con returns to the Javits Center on October 8 to 11, 2026, marking its twentieth year. The schedule promises a larger lineup and expanded space for exhibitors and artists.

Comic Con began in 2006 with a few thousand attendees. Two decades later, it stands as one of the city’s largest cultural gatherings, where readers, gamers, filmmakers, and fans share the same floor and the same excitement for stories that continue to grow.

WRITTEN by a Filipino (Jaime Pacena II), Kono Basho fortuitously surprises us as it ushers us quietly, tacitly, into the heart and mind of a young Japanese woman. This is unexpected; this is most unusual. Where this narrative could have been, once more, an attempt to understand the Filipino diaspora or at least the effect when migration causes relations to be formed across cultures; after all, the conflict between siblings are always at the core of melodrama easier to access, and lovelier to exploit. But something happens along the way-the Filipina anthropologist travels for the funeral of her Japanese father and from hereon time slows down, space becomes the temporal equivalent of emptiness or silence, and we are given the treasure of life longing for its own life. Or banishment.

It’s an interesting trick, a literary trompe l’oeil, to situate the focus of the tale not on the Filipina, the perspective that we understand naturally better, but on this young woman whose ego is not only obscure to us but rather unknown, i.e., foreign. But here lies the excitement of this strategy of telling, for now we are not only not keen to understand her more but we are poised to know her more, to find out how she is in this moment of grieving.

Early on, we know more or less how Ella feels. But we don’t know how Reina is responding to the loss. What the film does is merciless: it immediately gives us the daughter as she stands there in front of the mirror, fragile and yet towering, vulnerable and yet solid. It is a brief moment before the shoji-the latticed screen door-opens and the mother enters to tell Reina they are ‘arriving.’

Nakano Arisa the actor stands there, the head bent to the side, the quintessential face of a Nihonga in perfect, languid repose. Here is the face that has no expression not because there is nothing to say but because the body has drained its face of commitment and commentary. This is, of course, rare, hitherto not achieved or aimed at on the Philippine cinematic screen.

To make sense of this, we can be referential.

Junichiro Tanizaki in his classic essay In Praise of Shadows has written how ‘lacquerware decorated in gold is not something to be seen in a brilliant light, to be taken in at a single glance; it should be left in the dark, a part here and a part there picked up by a faint light. Its florid patterns recede into the darkness, conjuring in their stead an inexpressible aura of depth and mystery, of overtones but partly suggested.’

He continues writing how ‘the sheen of the lacquer, set out in the night, reflects the wavering candlelight, announcing the drafts that find their way from time to time into the quiet room, luring one into a state of reverie. If the lacquer is taken away, much of the spell disappears from the dream world built by that strange light of candle and lamp, that wavering light beating the pulse of the night. Indeed the thin, impalpable, faltering light, picked up as though little rivers were running through the room, collecting little pools here and there, lacquers a pattern on the surface of the night itself.’

The scene in front of the mirror takes a long gratuitous time.

Then the character of Ella arrives, unsure of how she appears. The camera catches her from afar; the Filipina aunt with her. She reminds Ella to be more poised, circumspect. We are gaijin in a foreign land, she seems to remind Ella. She stands before the door, the gestures tentative and even the language uncertain; in fact, there is the query about whether languages being spoken are understood. In a beautiful conceit for the camera, Ella is left to walk alone on the rohka or hall until she makes the turn, to find herself in the middle of the living room, where the ososhiki or funerary ritual is to take place.

At this point, Ella as played by Gabby Padilla is now standing in front of her half-sister. All throughout, Ella seems oblivious of Reina, the psychology being that she had traveled a long way and she is navigating the difficult manner of mourning in the Japanese way. Reina on the one hand remains in the background, the eyes downcast, terribly self-effacing and yet in the process declaring herself present in great sadness.

Consistent is the narrative even up to this point-we are on the more exacting life of the Japanese girl. We have journeyed across the globe to know the fragility of the loss, or the strength in what this village has discovered about itself. We are here for what lessons this place-kono basho-has for us. There is much to know from this village, grand teachings even from the Ippon matsu or the fact that a single tree has been memorialized, the one that has survived the great waves.

Like the focus of the tale, Kono Basho, in its cinematography and production design, unerringly pays tribute to our perceived Japaneseness of the social universe. Without fear of exoticising the landscape, one feels an overwhelming ephemerality immediate and present, and here is that age-old mono-no-aware-things are beautiful because they do not last. And when the two sisters stand together in front of the aged temple, you know the words between them shall not matter anymore. Something older, something mythical, a greater story will bind them to this place.

Like the black mofuku or mourning kimono, the essay of Tanizaki summons the image of ‘lacquerware decorated in gold is not something to be seen in a brilliant light, to be taken in at a single glance; it should be left in the dark, a part here and a part there picked up by a faint light. Its florid patterns recede into the darkness, conjuring in their stead an inexpressible aura of depth and mystery, of overtones but partly suggested.’

Toward the end, the audience can best summarize the film Kono Basho in all its wistfulness as a tale of forgiveness and healing. But let us not forget how cinema is about the art of artifice, and once more a tradition as old as the Japanese art can be a wellspring of inspiration and wisdom. Again, the old essay of Tanizaki whispers to us: ‘And so it has come to be that the beauty of a Japanese room depends on the variation of shadows, heavy shadows against light shadows-it has nothing else.’

It is for this and more that the Gawad Urian for Best Actress was given this year to Nakano Arisaka in a performance that was nothing else and nothing more for adding things or ‘luster here would destroy the soft fragile beauty of the feeble light.’

Kono Basho was directed by Jaime Pacena II. The film also won the Gawad Urian for Best Cinematography for Dan Villegas. Production design is by Eero Yves Francisco.

Translation of Junichiro Tanizaki’s In Praise of Shadows is from Leete’s Island Books 1977.