Movie themes consisting primarily of war and heroism had proven to be a huge hit among local audiences.The 1950s saw the first golden age of Philippine cinema,[10][11] with the emergence of more artistic and mature films, and significant improvement in cinematic techniques among filmmakers.

[14] Antonio Ramos, a Spanish soldier from Aragón, was able to import a Lumiere Cinematograph from Paris, including 30 film titles, out of his savings and the financial banking of two Swiss entrepreneurs, Liebman and Peritz.

[11] The Philippine Commission recognized early the potential of cinema as a tool of communication and information, so that in 1909, the Bureau of Science bought a complete film-making unit and laboratory from Pathé, and sent its chief photographer, the American, Charles Martin,[15] to France to train for a year.

[14] The first film produced by a Filipino is José Nepomuceno's Dalagang Bukid (Country Maiden) in 1919 based on a highly acclaimed musical play by Hermogenes Ilagan and León Ignacio.

[14] José Nepomuceno's Punyal na Guinto (Golden Dagger), which premiered on March 9, 1933, at the Lyric theater, was credited as the first completely sound, all-talking picture in the country.

Further, due to the long period of American influence, the local film community boasted a significant number of people who had worked in Hollywood during the silent era and had considerable experience.

Ano hata o ute (あの旗を撃て) aka Dawn of Freedom told the story of the Japanese victory at the Battle of Corregidor and the U.S. military's hasty retreat from the islands.

The film was shot in Japanese, Tagalog, and English and was written for the screen by Tsutomo Sawamura, co-directed by Gerardo de Leon (uncredited), and co-starred Fernando Po and Leopold Celecdo.

Their first feature together made such a box office success in the Visayas and Mindanao that other features immediately followed: Leonora (1951), Pailub Lang (Be Forebearing; 1951), Utlanan (Border; 1952), Handumanan (Memoir; 1953), Inahan (Mother; 1952), starring Mat Ranillo and Caridad Sanchez; Antigan (1952) with Virgie Postigo and Arise Roa; Carmen 1 and 2 (from the famous radio drama in Cebu; 1953), Paabuta Lang Ako (Wait for Me; 1953), Gloria Kong Anak (Gloria My Child; 1953), and Gihigugma Kong Ikaw (I Love You; 1954).

Other independent Visayan films produced at this time were: Mapait Ang Balaod (by Arturo Blanco; 1953), Bugas Mais (Corn Rice; by Arturo Blanco; 1953), Kapintas Sa Kinabuhi (Hard Life; 1953), (Cebu Stars Productions with Esterlina and Rebecca Torres), Pit Senor (Hail Senor) and San Tilmo (1953), (Barba Productions), Ang Siloy (1953) (with Nora Hermosa and Rebecca Torres), Huni sa Gugma (Where Is Love; 1953), Dadansoy (1953) and Inahan (Mother; 1954).

In 1970, Badlis Sa Kinabuhi and Palad Ta Ang Nagbuot were released in their original Visayan versions in Metro Manila and made good at the box office.

[26] LVN Pictures, under the leadership of the Doña Sisang de León, not only specialized in super productions, rural comedies and musicals, but also produced socially-relevant films such as Avellana's Anak Dalita (1956), Tony Santos's Badjao (1957) and Manuel Silos's Biyaya ng Lupa (1959).

The Maria Clara Awards of the Manila Times Publishing Corp., was composed of film publicists and writers who voted for the exemplary achievements of Filipino motion pictures in a calendar year.

Fan movies and teen love team-ups emerged, showing Nora Aunor and Vilma Santos, along with Tirso Cruz III and Edgar Mortiz as their respective screen sweethearts.

These include the following films by Gerardo de Leon: During this period, Filipino filmmakers were more successful in presenting some full-length pictures in living Eastmancolor, one of which was Ito ang Pilipino by J.E.

The notorious genre of sex or bomba films still existed but in a milder, less overt way like female stars swimming in their underwear or taking a bath in their chemise, labeled as the "wet look".

An example of the trend was the 1974 hit movie Ang Pinakamagandang Hayop sa Balat ng Lupa (The Most Beautiful Animal on the Face of the Earth) which featured former Miss Universe Gloria Díaz and filmed in the famed Sicogon Island in Carles, Iloilo.

It presents a satirical, humorous and poignant view of the Philippines' history of Spanish colonization through highly original and surreal vignettes fusing art, mythology and music.

Cardinal Jaime Sin, Archbishop of Manila, criticized the festival's organizers, Johnny Litton and First Lady Imelda Marcos, for allowing the screening of soft-core pornographic movies in participating theaters.

His films told the story of the underclass' struggle, the dark side of a sprawling metropolis and featured poverty-stricken locations which were able to make a statement with regards to the Marcos' autocratic rule and human rights violations.

Producers resorted to formulas that worked well in the past that cater to the standards and tastes of the masses,[10][42] and story ideas were often copied from Hollywood and Hong Kong films that were successful in local cinemas.

It made ₱375,024,507 during its theatrical run in the Philippines and ₱211,573,332 overseas, for a total of ₱586,597,839 worldwide until Vice Ganda's Girl, Boy, Bakla, Tomboy and Kris Aquino's My Little Bossings (both are MMFF entries) surpassed their local box-office record and battle for the first spot .

Four reasons were stated as to why it was pulled-out: Three are aspects of the movie: the priest portrayed in a villainous light, the use of a hypodermic needle as a murder weapon, the amorous scenes between a 10-year-old couple, and the fact that "[the film] might give [the] youth certain subversive ideas".

Screen actors such as Carmen Rosales, Rogelio de la Rosa, Norma Blancaflor, Ely Ramos, Elsa Oria, Leopoldo Salcedo, and Ester Magalona, took to the entablado and were received well.

The Citizens Council for Better Motion Pictures was established by in 1960, as a response to a "grave concern over the general disappearance of the cherished virtues and traditions of the Christian way of life, the alarming increase in juvenile delinquency, and the deterioration of public and private morals".

This led to the rise of commercial, pornographic bomba (taken from the term "bombshell", which normally included a scandal in Political public office) films, which persisted despite heavy criticism from Catholic groups.

Film censorship under the martial law dictatorship was undertaken as part of the stifling of free expression and civil rights, during which artists, journalists, activists, and members of the opposition were under threats of sanctions or arrest.

[112] After the immediate recognition of Tadhana and Adarna, Filipino animation filmmakers continued to be dominate the film industry to create their own work since 1980s including Reggie Entienza's Urduja, Robert Quilao's Dayo: Sa Mundo ng Elementalia, Luis C. Suarez's RPG Metanoia, Carl Joseph Papa's Manang Biring and Iti Mapukpukaw, Avid Liongoren's Saving Sally and Hayop Ka!, and Frederick C.G.

Over the years, there have been many films based on history or on historical figures that not only captivated audiences with their powerful and enriching stories, but have also taken viewers back in time with the detailed costumes, sets, and atmosphere.

[113] Be it based on real people – like the biographies of José Rizal (1939, 1998), Andrés Bonifacio (1995, 2010, 2012, 2014), Lapulapu (1955, 2002), Antonio Luna (2015) and Gregorio del Pilar (2018); or set during a certain time period – Teniente Rosario (1937), Banaue: Stairway to the Sky (1975), Dugo sa Kapirasong Lupa (1975), Oro, Plata, Mata (1982), Tatlong Taong Walang Diyos (1976) and Quezon's Game (2018).