By JT Gonzales Beauty is in the eye of this artist.  Ron Mariñas looks at the world, and extracts subjects of desirability.  Apollo in a towel.  Blonde gods and jocks, crowned with floral wreaths.  Soldiers in armor and skin, in various states of repose. Ron explores a varied smorgasbord of iconography, layering coats of yearning upon his canvasses, meticulously fashioning limbs and chiseled jaws, and bringing forth potent images that still, aren’t quite erotic.  Perhaps, they may be better described as alluring, yet forbidden, fruits of his imagination.  The twenty-something emerging artist clearly has a voice, and it is a voice he employs to dramatic effect. Suggestive poses, Hermes and Chanel bags, and smoldering sensuality dominate his works.  Honed at the Fine Arts program of the University of Sto. Tomas, Ron’s career has been blessed with support from his parents, both coming from outside the art world.  (His father is a civil engineer, his mother is a middle school teacher).  That support must have been key to him graduating from art school with an outstanding thesis. From school, it was on to the real world.  Ron has been steadily exhibiting in various Manila galleries, landing not just group shows, but his very own solo exhibitions at Secret Fresh and Metro galleries, among others. Employing lithe figures with big city attitudes, garbing them in an amalgam of modern day luxe-cool with old-world robes, Ron has carved out a distinct space for himself.  And he knows that. He has gotten attention, and as with any new kid on the block he has received his fair share of critique.  But criticism is not always welcome, and so, when asked what would be his dream exhibition, the response became a pushback against those who might constrain his expressive style. Ron says “…my dream exhibition is one where I can truly make a noise and be my full self, not just as an artist, but as a person. Most of the time, artists are expected to compartmentalize their real selves from their careers, and that unspoken rule is something I’ve always found hard to follow. Because one, I evidently use my real name as an artist, so I speak the truth and depict it through art.  “Second, my works are deeply personal. I paint my truth … like writing in a diary. … I still struggle with how the industry often sees only the beauty of the art, when for me, the real beauty is what’s behind it. And third, I want to portray the drama of the story, the art of drama.” “This industry is afraid of drama, but I believe it’s what makes art real. In this industry, drama is often treated as a euphemism for something negative or scandalous, something unsafe or unsellable. But for me, life has drama and that’s what makes art, art. And art should be relatable. Every painting tells a story, and every story needs drama and truth. That’s my dream exhibition: to stop playing safe and express myself fully through my art.” To paraphrase, therefore, in Mariñas’ view, art becomes relatable when it is authentic.  In this age of millennials and Gen Zs, where social media is ubiquitous, and filters and AI have come to dominate, to be authentic is key.  Realness is how his generation will be able to relate to him.    Ron’s works, perhaps unconsciously, capture therefore the zeitgeist of a certain subset of humanity: young residents of the sprawling metropolis that is Metro Manila, keenly aware of the difference between the haves and the have-nots, straddling the high fashion absorbed through magazines and social media, yet acknowledging that their reality is set in the midst of jeepney drivers and street vendors.  Ultimately, they are supremely conscious of the burdens that those in the upper middle class take on to  champion the oppressed (a role that, unfortunately, the upper classes have shed in their perpetual accommodation with the powers-that-be). By contrast, Ron’s earlier works were a startling melange of Greco-Roman classicism, glittery gold and fiery red adorning and consuming his subjects.  And what subjects they were. Limpid eyes, rock-hard pecs, and lean muscles all serving as fitting tributes to the gods.  Yet, as with all artists, Ron has slowly but noticeably evolved.  From chasing and shaping golden perfection, Ron has in recent months gradually refocused on a palette bursting with a multitude of colors.  Hues so vibrant, they register as almost neon, yet without hitting that off-putting frequency that hurts the naked eye. For gallery. sort of., Ron unveiled stylized almost-portraits of him and his friends, boozing it up in their fashion finery, yet hamstrung by the pathetic  public transportation system available to them.  In jeeps with their stilettos and faux fur coats, or riding an Angkas motorbikes in frocks, the gang manages to party the night away. Midnight snacks come by way of penoy baluts, and street corners are conveniently transformed into makeshift restrooms.  This is the reality that surrounds them, that makes them, drama very much included. Is this why Ron idolizes, aside from Vincent Van Gogh, the singer Lana del Rey, whom he identifies as an inspiration?  ‘Even before I was introduced to her art in writing, I already had my own identity and style in how I express my art. When I discovered her work, I saw a strong resemblance in our styles, or at least something I want to be even more daring than.   “Her art appears elegant, old money, graceful, and some will say (with a) prim and proper vibe on the surface, but it’s mixed with the complete opposite like controversy, drama, darkness, sensuality, and danger. That combination shows the truth of our reality, that kind of mix of elements that people often find unusual or unexpected. “ “Many of my viewers describe it as “a fun combination,” in my art, something that has a little kick to it. What we see is not just beauty; there’s always something behind it. That hidden truth is what makes it real, and Lana Del Rey expresses that poetically through her music.” Beauty rooted in reality, then.  This is the throbbing imperative in Ron, and we should expect to see that thread in his future works.  Although as to what’s next after his Tambay, Toma, Tropa two-artist exhibition with Zuh Dai, there’s not a lot of detail yet.   “I’m the type of artist who gets anxious when my next year is already planned out, and that’s something I know I need to work on personally. In this industry, it’s hard to stay professionally spontaneous. Still, I’ve been in talks with a few galleries about possible shows for next year. I’m really looking forward to working with a gallery that’s collaborative and open to helping me expand my creativity as an artist. And I’m planning to do a solo exhibition again next year…” Vague on specifics, but we already know, even this early, there’s going to be beauty in it.

When Morissette first set foot on a stage in Cebu as a young girl, she couldn’t have imagined  that fifteen years later, she would be standing as one of the country’s most celebrated voices,  carrying the title of “Asia’s Phoenix.” For someone who once nervously entered singing  competitions around her hometown, the journey from small stages to sold-out arenas has been  nothing short of extraordinary.  This year, the powerhouse vocalist marks her 15th year in the industry with EMBER , a concert  that not only celebrates her career but also symbolizes her rebirth, resilience, and reignited fire.  For Morissette, the Phoenix is more than a nickname — it is the story of her life. A Cebuana Beginning  “Born and raised in Cebu, I started joining every singing competition I could find on the island,”  she recalls with a laugh. “That was really my training ground. My parents were the ones who  pushed me, mentored me, and supported me while I balanced school and music.”  Those humble beginnings, marked by hours of rehearsals and small-town applause, shaped the  artist who would later find herself performing for international audiences. “Cebu will always be  home,” she says warmly. “It’s where I learned discipline, determination, and the importance of  knowing where you came from.”  Manila and the Big Breaks  Her move to Manila was the turning point. The exposure to the capital’s vibrant music industry  opened doors she never imagined. From her early stint in The Voice of the Philippines to  becoming a mainstay on ASAP , Morissette steadily built her name.  “I started out mostly doing ballads. But in Manila, I was surrounded by so many different  influences — pop, R&B, soul. That’s when I really began exploring who I wanted to be as an  artist.”  It was in 2017, however, when her performance at the Asia Song Festival in Busan, South Korea,  earned her the title “Asia’s Phoenix,” a moniker that would follow her everywhere. “At first, I  was overwhelmed. But eventually, I embraced it. The Phoenix is about rising, and I felt that  deeply. I had already gone through so much, personally and professionally, and I knew the name  wasn’t just about my voice — it was about my journey.” EMBER: The Fire Within  The Phoenix takes center stage again with EMBER , her 15th anniversary concert. The title, she  explains, represents a fire that never truly dies. “Even when flames burn out, the embers remain.  They’re the foundation, the proof that something was once burning — and with the right spark,  they can ignite again. That’s what this concert is about. I’ve been through highs and lows, but the  fire inside me is still alive.”  EMBER is not just a milestone show; it’s also Morissette’s first time taking on the dual role of  performer and producer. “It’s more pressure, definitely,” she admits. “But it’s also more  rewarding. I get to be involved in every detail — the music, the visuals, the storytelling. I want  people to leave the show not just entertained, but inspired.” Carrying Cebu’s Legacy  Despite her global reach, Morissette has never lost sight of her roots. She speaks passionately  about representing Cebu and VisMin artists on bigger stages. “It’s funny, because growing up, I  wasn’t as exposed to Bisaya music as I wish I had been. But now, I make it a point to sing in  Bisaya, even when I perform abroad. It’s my way of honoring where I come from and showing  the world the richness of our culture.”  Cebu, after all, has long been known as a breeding ground for powerhouse voices. To be counted  among that legacy is something Morissette carries with pride. “Every time I sing in my native  tongue, it feels like I’m bringing a piece of home with me,” she says. Staying Grounded  For someone whose name is often accompanied by “Asia’s Phoenix,” Morissette remains  refreshingly grounded. She credits this to her circle. “My family and my close friends keep me  anchored. They remind me of what’s truly important. And above all, it’s God. His timing has  always been perfect in my life, and I believe He placed me on this path for a reason.”  That faith, she says, has carried her through difficult moments — times when she questioned  whether she could keep going. “There were many points when I felt like giving up. But then, an  opportunity or even just a person would come into my life — like a sign from God saying,  ‘Don’t stop yet.’” Lessons for Aspiring Artists For young dreamers who look up to her, especially those in the provinces, Morissette has a  simple but powerful message: patience and perseverance. “Your time will come. While waiting,  keep working on yourself — your craft, your discipline, your mindset. Surround yourself with  people who truly want to see you grow. And most importantly, never give up. There will be  setbacks, but those setbacks are part of the journey.” “Even when the flames burn out, the embers remain. With the right spark, they ignite  again — that’s my story.” Defining Moments  When asked about her proudest moment so far, Morissette doesn’t hesitate. “My first sold-out  concert at Araneta in 2018. Standing there, seeing a sea of light sticks, I felt proud of myself for  not giving up. That was my ‘I made it’ moment.”  Five years later, she’s returning to the same stage with EMBER . This time, though, she’s not just  a performer but also a producer — an artist in full control of her story. “There’s more weight on  my shoulders, but there’s also more joy. No matter how it turns out, I’ll always be proud.  Because I’ve made it this far, and I know I’m exactly where I’m supposed to be.”  Looking Ahead  Fifteen years may sound like a long time, but for Morissette, it’s only the beginning. With her  own label, Underdog Music, which she runs alongside her husband and friends, she is  determined to push creative boundaries and champion original music. She’s also more open to  experimenting with new sounds and collaborations, as long as they remain authentic to her.  “I don’t want to limit myself to just one thing. I want to keep growing, keep exploring. Music is  evolving, and I want to evolve with it — while staying true to who I am.”  And so, as she steps onto the stage for EMBER , celebrating fifteen years of music, Morissette  does so not just as Asia’s Phoenix, but as a Cebuana artist who has risen, fallen, and risen again  — stronger, brighter, and ready for whatever the next fifteen years will bring. Photography: Jharwin Castaneda @jharwin.castaneda  Hair and Makeup: Miko Dacanay @mikodacanay  Stylist: John Lozano @johnlozano10 assisted by Lon Morelos @itslondm, Arar Pascual @ararpascual    Special Thanks to IM Studio 10 @im.studio10 and Gee Plamenco @gp10, Underdog Music @underdogmusicph    #MorissetteForBLNC

Philippine contemporary designer, Jor-El Espina, culminates a year-long countdown to his 20th year in fashion with a gala fashion show entitled, Jor-El Espina: 20 Design Anthologies When Jor-el Espina began to think about how he would celebrate two decades in fashion, it seemed impossible for him to capture his creative journey in just one collection or show. “So many things have taken place since I began in fashion,” the contemporary Philippine designer reflects. “This is why we decided on the concept of anthologies–a series, a collection. We began the countdown last year with a series of capsule collections, pocket celebrations and collaborations. For the culmination, I was drawn to the idea of putting together a rich collection of colors, details, texture, fabrics, and patterns. It’s very much like my diary as a designer.” Inside the Mind of a Maximalist  20 Design Anthologies embodies the musings, ideas, and dreams of a maximalist. It is a bold departure from the designer’s signature Filipiniana fare–creams, muted tones punctuated by diaphanous fabrics. At the same time, the collection is a rumination of his roots and natural inclinations as a creative. “It’s not the usual Filipiniana theme that you often see in my past collections,” he explains. “Of course the use of local fabrics will be apparent. I’ve been wanting to work with jewel tones and metallics for a long time now and this is the collection where I get to do just that. I feel like the deep hues reflect my aesthetic and fascination with old world glamour.”  Use of local fabrics, hand embroidery, and reimagined barongs are staple elements that continue to echo the sensibilities of the designer. But according to Jor-el, “This collection pushes the limits in terms of where I can take Filipiniana dressing. I consider this collection as my playground.” He orchestrates a rich visual narrative through details like fringe, intricate beadwork, pailletes, and colored shells. Jor-el details that to elevate his pailettes, he utilizes mother of pearl. Other techniques that add to the richness of the collection include pleating, ruching, and even corsetry which he and his team explore in the process of completing 20 Design Anthologies .  The collection will be made up of mostly evening wear pieces. Barrel pants are paired with diaphanous tunics. Embroidered serpentine skirts layer beautifully with corseted tops with exaggerated hips. Tulip skirts anchor paillet blouses. “You can also expect lots of volume, bold silhouettes, an explosion of textures and details,” he shares.  Diamonds and precious stones also added to the grandeur of his collection. He partnered with DiaGold to complete each of the looks from 20 Design Anthologies. “DiaGold’s timeless elegance harmonized with my designs. Our brands are the same in that we both celebrate heritage and craftsmanship while embodying the modern spirit. Together, we tell the story of beauty that is rooted and radiant.”  Jor-el has been a maximalist by heart. “When I began in Iloilo, creating custom pieces for early clients, I would always explore the use of details, colors, texture, patterns and prints.” As early as 20 years ago, his designs manifested as an early exploration of details. “I had to tone it down a little when I started to do ready-to-wear.” It was in 2017 at the ArteFino when Jor-el began to venture in retail presenting a more contemporary take on traditional Filipino wear. This would birth signature pieces like the bombarong and tapis skirts.  “In 20 Design Anthologies, I wanted to present something that recalls my love for details. I envisioned a collection that is more art-forward.”  Giving Back to the LGBTQ Community  The 60-piece collection will be presented on October 24, 2025 at the Grand Ballroom of Shangri-La the Fort in partnership with the Philippine Financial and Inter-industry Pride (PFIP). Jor-el details, “When I was introduced to the PFIP, I was moved by the work they do in providing higher education for members of the LGBTQ community.”  The PFIP is the country’s premier advocate for LGBTQ inclusion in the workplace. The non-profit organization, which was founded by five multinational banks based in the Philippines, is dedicated to shaping a safe, inclusive and equitable workplace for the LGBTAQ community. One of the key initiatives of the organization is the Rainbow Youth Academy Scholarship Program. Its main goal is to “dismantle systemic barriers and uplift underrepresented youth, especially those from the LGBTQ community.” To raise funds for this initiative, the PFIP will mount a BahaghariCharity Gala, which will showcase Jor-el’s 20 Design Anthologies. The organization explains: “This year’s gala is more momentous as it marks the 20th year of renowned fashion designer, Jor-el Espina. As a designer and business owner, Jor-el champions a diverse and inclusive workforce, believing that creativity thrives when people feel safe, valued, and seen. He fosters a culture of belonging, where every team member, regardless of background, contributes meaningfully to the collective vision.”  Jor-el adds, “Education is very important, especially for members of the LGBTQ community.” “Being a part of this community, I believe that we each have a role to play in shaping its culture. For me, it’s partnering with PFIPs Bahaghari Charity Gala for my 20th anniversary fashion show to help raise funds for the Rainbow Youth Academy.”  Jor-el Espina’s 20 Design Anthologies Gala Show will happen on October 24, 2025 at the Grand Ballroom of Shangri-La Fort.

Presented by the Zonta Club of Alabang, Patis Tesoro’s Filipiniana is Forever  is a benefit fashion show that will feature a 100-piece collection by the Grand Dame of Philippine Fashion. This milestone event honors the countless contributions of the cultural trailblazer in empowering women in the creative industry. It will also help raise funds for the countless projects and initiatives of the Zonta Club of Alabang. Creative direction by Patis Tesoro, Photography by Jake Versoza For the past two years, Patis Tesoro has been wanting to do a fashion show. It had been a while since she last presented a collection on the runway. “Everytime I would get started, my creations would immediately get sold,” she shares lightheartedly. “So for a while, it was hard for me to actually get a full collection together. Even then, I began building the black and white pavilion on my property where I envisioned doing a show.”  When Zonta Club of Alabang’s President, Kathleen  Liechtenstein and other members of the organization heard about Patis’ plans for a fashion show in her San Pablo home, they immediately offered to produce. “Many of us at the Zonta Club of Alabang are patrons of Patis. We immediately felt that a show as grand as this should be brought to a larger audience,” Kathleen begins. The members of the club were thrilled by the prospect of mounting a benefit fashion show featuring the Grand Dame of Philippine Fashion.  A Trailblazer In Women’s Empowerment and Cultural Revival  The benefit show is both a fundraiser and a tribute to Patis. Kathleen observes, “Her body of work, values and advocacies align with the Zonta Club of Alabang.” Throughout her five-decade long career, Patis has been revered for her distinct Filipiniana designs. In 1986, she dedicated herself to the revival of piña fabric. This seminal work would later extend to other forms of craft like natural dyes and hand weaving of Philippine tropical fabrics. Patis has also championed the preservation of embroidery and needlework, emphasizing how the craft is facing demise.  “In all her endeavors, Patis has also contributed to empowering women from artisanal communities. Her team, for example, is made up of 90% women. This was an apparent common ground that we started from,” states Kathleen. She adds that like the club, Patis has also devoted her life to mentorship and education. “These are the hallmarks of empowerment,” she adds. “Her work is meaningful because she brings Filipino artistry, craft and techniques to the next generation, ensuring that it will live on.” “In all her endeavors, Patis has also contributed to empowering women from artisanal communities. Her team, for example, is made up of 90% women.” –Kathleen Liechtenstein, President of Zonta Club of Alabang HALIK SA BATOK: An Inspiration On November 4, 2025, Patis will present a 100-piece collection at the Grand Ballroom of the Hyatt BGC. Aptly dubbed, Filipiniana is Forever,  it summarizes her life’s work and legacy. According to the artist, designer, fashion activist, icon, gardener, and champion of Philippine craft, she was initially inspired by the idea of a women’s nape subtly peaking from behind traditional the baro or lightweight embroidered blouse. She details, “When you are Filipino, you are attractive when you wear the baro’t saya . Characteristically, it is folded at the back to show the nape. It’s very sensual. It is also an evolving, wearable piece of art.” Patis’ Filipiniana is Forever collection will also feature dasters or house dresses, a preferred everyday garment of the fashion icon. Of course, she clarifies, they will be elevated via handwoven details, patchwork, and hand embroidery. Maria Clara gowns, a more formal version of the baro’t saya,  are highlights of the collection. They are joined on the runway by Kimono jackets inspired by Freddie Mercury, and handpainted barongs. “I wanted to emphasize the beauty of handmade things. Ninety five percent (95%) of the collection is handmade. Fabrics are handwoven, hand painted, hand embroidered, hand beaded.” Art That Lives, Moves, and Breathes The creative process that happens inside Patis’ studio unfolds like art in constant motion. “What is the Filipiniana today?” she ponders. The designer orchestrates a rich symphony of colors, textures, patterns the way a maestro would. She utilizes hand woven fabrics like pina, jusi , tropical linens and precious weaves from various parts of the archipelago as her canvas or a blank music sheet. Hers is a process that pushes the boundaries in maximalism–piling on layers of details like notes of a crescendo. “It comes together as I see the materials,” she details. Her genius lies in her design instinct. Patis also knows exactly where and when to pull back to create the perfect adagio.  Tradition imbues every piece of the collection, creating a distinction for her pieces as wearable art. “As humans we are naturally drawn to beautiful things and that includes fashion. We are becoming so globalized. When you look at how everyone dresses on an ordinary day, everyone looks the same!” Patis observes. She notes how this shift has blurred the lines where dressing for cultural identity is concerned. “We express our identity and even status through clothing.”  In Filipiniana Forever , she also emphasizes a return to craft. “What if we return to handmade things?” she remarks. “Everything is changing so fast now because of technology. And there is a movement of people making technology secondary. They are returning to nature and things made by hand–something that AI can’t touch.” Filipiniana is Now and Forever Patis has also lent her creative vision  and direction to the campaign of the collection. Photographed by Jake Versoza, and shot in her San Pablo home, the imagery reflects how “Filipiniana is Forever morphs to fit the times.” At the same time the designer wanted to stress the relationship between the Filipino dress and national identity.  “All Filipinos aspire to dress in a sheet handwoven piña or what resembles it. Our climate and environment necessitates this mode of dress,” Patis says, reflecting on the woman she wants to dress and how this is translated through the campaign. “I wanted to show daily wear to formal wear, focusing on the craftsmanship and artistry of our people.”   “I wanted to show daily wear to formal wear, focusing on the craftsmanship and artistry of our people.” Patis Tesoro Fashion In Action “This will be the first time we do a benefit show, selling tickets for a cause,” says Kathleen. Proceeds from the ticket sales of the benefit fashion show will be dedicated to the various projects and initiatives of the Zonta Club of Alabang. These include: Nanay for Healthy Livers Para kay Baby Prenatal screening for Hepatitis B, newborn immunization, catch up vaccination for children, and educational forum Saddle Up Equine therapy program for underprivileged children undergoing cancer treatment Pagpapahalaga sa Sarili Symposium and free screening for HPV 14 Days of Activism Ballet Brigade Dance outreach and sponsorship program for indigenous children around the country Dibdib Ko Alaga Ko Year-round educational programs for early detection of breast cancer  Gift Giving for Tondo School of Joy Monthly Food Drive for Pre School Kids of Tondo School of Joy “Zonta Club of Alabang also has programs on gender equality, women’s rights, Family Code, among many others. We also put women’s empowerment front and center. It is what informs all our initiatives. Patis is the very embodiment of this. Working with her translates her language of love to our audience,” says Kathleen.  In her five decades as an artist, champion of craft, and cultural advocate, Patis has helped shape Philippine fashion as we know it today. Her life and work have created impact for countless women artisans and communities not only within her sphere of influence but also beyond. Patis Tesoro concludes: “Filipiniana is Forever, passed from generation to generation, for as long as we have a country called the Philippines. Patis Tesoro’s Filipiniana is Forever is a benefit show presented by the Zonta Club of Alabang. It will happen on November 4, 2025 at the Grand Ballroom of the Hyatt BGC.  Tickets are available via https://qlickpass.com/ . You may also email: zontaclubofalabang1@gmail.com

At 23, Johan Kyle has already lived through the highs and pressures of early recognition. Once seen as a prodigy in fashion, he now stands as a content creator whose work goes beyond clothes—it tells stories. On TikTok and Instagram, his weekly videos draw thousands in, not just for the looks, but for the narratives stitched into each piece. For Johan, fashion isn’t only about style; it’s about meaning, connection, and finding one’s way back to what truly matters. When you look back at your earliest videos, what do you notice about how much you’ve grown—both as a creator and as an individual? I’ve become more intentional with my work than when I was 14. Sometimes, I wish I hadn’t received all that attention at such a young age, because I was still discovering myself. Now that I’m 23, I can say that I found my way back to fashion, and I’m happy. How do you balance the technical side of content creation—shooting, editing, pacing—with the creative side of design and storytelling? For me, story is always king. Whether you’re shooting on an iPhone or an Arri Alexa, the story has to stand on its own. Of course, I do my best to balance the technical with the creative, but that balance only comes with years of trial and error. There’s no shortcut— it’s like developing your taste.  What’s the most personal story you’ve told through your content so far, and how did your audience respond? The making of my brother’s prom suit was the first time I shared an intimate, personal story. I used to be a snob, always wanting to gatekeep the process, but this story felt too special to keep to myself. To my surprise, it went viral. I realized that people don’t just enjoy the clothes, but also the stories behind them. You post new videos every week. What does your creative process look like from concept to upload? Once I have an idea, I outline a script on my Notes app. From there, I usually spend a day filming and two days editing. I prioritize certain videos based on how timely they feel. Five years from now, what do you want your audience to remember you for? I just hope I’ve piqued someone’s interest in fashion. It’s such a beautiful, magnetic world, and so many miss out simply because they don’t know where to start.  Special Thanks: @janvmayo and @midnightdreamph

In the dark pulse of Manila, a runaway teenager finds himself drifting through unfamiliar streets. What begins as an escape soon becomes an odyssey of love, loss, and survival. This is the world of Some Nights I Feel Like Walking , the long-awaited new film from Filipino director Petersen Vargas —and one of the most talked-about queer films of the year. A Return to Queer Storytelling It’s been nearly a decade since Vargas made waves with 2 Cool 2 Be 4gotten . With Some Nights I Feel Like Walking , he steps back into queer narratives with a story that is raw, haunting, and deeply human. At its heart is a wealthy teenage runaway who joins a group of hustlers on a nocturnal journey across the city, fulfilling the last wish of a fallen friend. The result is a road movie unlike any other: intimate, restless, and alive with the grit of the streets. Global Journey, Local Premiere The film has already carved a path across the international festival circuit, from Tallinn in Estonia to Brazil, Singapore, Indonesia, and South Korea. At Tallinn Black Nights, it even took home the award for Best Score—a testament to the sonic force driving its narrative. Now, after months of global screenings, Some Nights I Feel Like Walking returns to where it belongs. The film premiered in the Philippines during the QCinema RainbowQC Pride Film Festival and is set for a nationwide theatrical release on August 27, 2025 . Rated R-18: Boundaries and Freedom The Movie and Television Review and Classification Board (MTRCB) gave the film an R-18 rating , restricting its audience to adults only. The reasons are clear—mature sexual content, LGBTQ themes, and unflinching portrayals of life at the margins. For Vargas, however, this restriction only underscores the film’s urgency. It is not a story softened for comfort. It is a portrait of survival, desire, and the fragile bonds that keep us human. The Sound of the Streets Music plays an unforgettable role. Siblings Aly and Moe Cabral composed a score that weaves experimental noise, silence, and beats with the rhythm of Manila itself. Budots tracks from DJ Danz and DJ Van Pao crash into scenes alongside the fierce rhymes of trans pinay rapper Pette Shabu . The soundtrack is chaotic, hypnotic, and distinctly Filipino. It’s no surprise the work earned international recognition—Best Score at Tallinn—placing the Cabrals alongside some of today’s most daring film composers. Why This Film Matters Some Nights I Feel Like Walking isn’t just a film about queerness; it’s a film about movement. About searching for home when home feels impossible. About wandering into the night, and the connections found in its shadows. For Filipino cinema, it represents a bolder step into queer storytelling that refuses to dilute itself for mainstream tastes. And for audiences, it’s a chance to witness a director at the height of his craft, returning with a story that is as tender as it is unrelenting. “Some Nights I Feel Like Walking” opens in Philippine theaters on August 27, 2025. Rated R-18.

An intimate portrait of healing and inherited wounds, When It Rained Malunggay Leaves is set to premiere this September at Sine Kabataan 2025, as part of the Pista ng Pelikulang Pilipino lineup. Written and directed by Cedrick Valenzuela, the film stars Gabby Padilla and Tanya Gomez in a quiet, emotionally stirring family drama. The story follows Ariel (Gabby Padilla), who returns home for Undas to reconnect with her mother, Anita (Tanya Gomez), after years of estrangement caused by a painful falling out. As the two confront the silence and distance that have long stood between them, the film unfolds into a gentle but powerful meditation on memory, motherhood, and the longing to heal the ones who once hurt us. “It’s a film about healing from passed on wounds, by whatever means,” shares Cedrick. “When I moved out of my parents’ house, I began to realize how much healing my inner child needed. That realization came with the understanding that my mom needed healing too. She was once a child, a teenager, a young adult in her twenties — but she never had the chance to tend to the wounds passed on to her, because she had to put her life on pause to raise me.” Though Cedrick has been writing and directing short films since 2017 for fun and with friends, When It Rained Malunggay Leaves marks his official directorial debut — a film written in his twenties, made for the big screen, and shaped by the quiet ache of growing up. The film is produced by Cy Igne of Komon Collective, a MAPÚA-based filmmaking group, in collaboration with Tarzeer Pictures, Black Cap Pictures, and TEN17P — the creative forces behind acclaimed works such as Dagitab, Phantosmia, and the short film The River That Never Ends. When It Rained Malunggay Leaves will premiere this September at Shangri-La Plaza in Mandaluyong as part of Sine Kabataan 2025 and the Pista ng Pelikulang Pilipino showcase — offering audiences a tender glimpse into the quiet and complicated process of healing and coming home.

BLNC Facets : Pride in Everyday DJ Better Living PARA Ñ AQUE What is everyday life like as a queer person on your side of the country? DJBL: Luckily, I live somehow near to what I assume is a friendlier nightlife scene, compared to other parts of Metro Manila, even though it’s in a different city. But to assume the whole barangay is a safe space for queer people, is also dishonest. Not all venues host LGBT+ acts or communities, which is ironic because some, if not all, the well-known subgenres of electronic music were made by marginalized people (queer and/or people of color). What would you like Filipinos to know about the LGBTQIA+ community where you are? DJBL: The dance floor should be for anyone to be able to express themselves. We do this by attending the club nights we want to attend, the way we dance, and the music we play as DJs. Let’s be inclusive as much as possible and make space for one another. https://www.instagram.com/belgiangwaffles/ Photographer: Wilmark Jolindon  ( https://www.instagram.com/thewilmark/ )

BLNC Facets : Pride in Everyday Shevonne CEBU What is everyday life like as a queer person on your side of the country? SB: It’s a constant balancing act between different circles. Being queer in Cebu means navigating a world that isn’t always hostile, but rarely truly welcoming either. You learn to read the room quickly. I am reminded of this every so often in public or even at work, where the majority are of the older generation. I’ve controlled the way I walk in front of my family. I do not cut my hair a certain length. I buy pink things, worn skirts, have male celebrity crushes and make it a point my family is well aware of these. At times, I even feel alienated from queer friends and the community that celebrates sex—I’ve felt compelled to be into it too. You learn what parts of yourself are allowed to surface and what’s safer left tucked away. And when you want safe spaces to just be yourself, it isn’t impossible to find in the city, but it takes effort. The spaces exist, but they’re just fewer, more underground, and tight-knit. Still, I remain hopeful it is growing with the recent number of initiatives and events from both local groups and communities that aim to create and nurture such spaces. What would you like Filipinos to know about the LGBTQIA+ community where you are? S: In Cebu, the city and the province are not too far off from each other—and neither are their morals and beliefs. There’s a sense of in-betweenness. It’s not as conservative as the rural provinces but it’s also not as progressive as Manila in terms of visibility and some ordinances. We can only hope for the day when we have equal rights and are recognized on a national level, beyond the current local anti-discrimination ordinances, which are helpful and a significant step forward but can only go so far. You’d find that living queer in Cebu is often about finding your people amidst balancing your identity in spaces that may not fully affirm it yet. Many of us live in quiet resistance. We walk carefully, love cautiously, and dream loudly in private, and hope that, soon, we wouldn’t have to fight so hard just to have safe spaces and to live openly. https://www.instagram.com/icedchiffon/ Photographer: Wilmark Jolindon  ( https://www.instagram.com/thewilmark/ )

BLNC Facets : Pride in Everyday WIBOMIBO BULACAN What is everyday life like as a queer person on your side of the country? W: As a sweet boy from a humble barangay in Bulacan, I can say with honesty that life here still leans toward the more conservative side of the spectrum. While I deeply appreciate the warmth of my community, there are times when I feel the limits of expression pressing in. I often find myself travelling to the City of Quezon, Quezon City, and even Makati, where I can meet my queer friends, share stories, and exist in spaces that feel truly safe, seen, and celebrated. In my everyday life, I do my best to express who I am through my creations—whether it’s inmy artworks, my music, and my NOISE . As a music producer, I’ve come to understand that noise isn’t just sound—it’s resistance, it’s power. It’s a way of claiming space in a world that tries to hide us.NOISE IS POWER. Noise demands to be heard. Through noise, I have found friends, built community, shared joy, anger and sorrow.  It’s through noise that a conversation begins. It’s through noise where I begin existing. Through the noise, I am seen. Through the noise, I am heard womp womp. To noise making and to breaking the world that tries to silence us! What would you like Filipinos to know about the LGBTQIA+ community where you are? W: Bulacan queer art needs to be protected! Protect queer art or something haha. But kidding aside, I think that with time, Bulacan Queer Artists will take over the world, so just watch out, keep your eyes and ears wide open. There are countless queer gems here in Bulacan—brilliant, noisy, and unapologetically themselves. We are here. We are making noise. https://www.instagram.com/wibomibo/

BLNC Facets : Pride in Everyday Lendz Barinque CEBU - DUMAGUETE LB : Iligan City is my hometown. I was born and raised there until I was 15 years old. Growing up, my life revolved around home and school. I wasn't able to accept my sexuality until I was 16 years old, when I moved to Cebu to study and practice filmmaking. It wasn't until then that I became more honest with myself because of the community I found—or perhaps, that found me. It wasn't until then that I felt truly accepted. At the age of 20, I moved to Dumaguete City to pursue an undergraduate degree in Creative Writing from Silliman University. Both Dumaguete and Cebu accepted me for who I am, allowing me to be myself with little to no repercussions. In fact, it was Dumaguete that not only allowed but actively encouraged me to be free—to dress how I want, move how I want, and do what I want. Back in my hometown, it took me a while to find my people. I think it was because growing up there, I had a hard time belonging—especially the "me" that Cebu and Dumaguete had nurtured and protected. Eventually I grew comfortable, but I had to hold back some parts of myself. Back home, I feel like I am only tolerated rather than truly accepted. I am grateful for the people I found there, though. As a 29-year-old filmmaker and writer, I frequently move from one place to another, but these three cities are the places I can call home. They are all very different, and living as a queer person in each of these places presents unique experiences. However, I often find myself treading carefully between the stereotypes of what a gay person is supposed to be and the kind of person I actually am. Even now, there are times when I'm expected to be effeminate and times when I'm expected to be masculine. I like to believe I am both, and I love that about myself. I am grateful to be part of an era where being queer is considerably easier than it used to be, and I thank the people who came before me and fought so that I, and other queer people, could live as comfortably as we do today. https://www.instagram.com/lendzrb/ Photographer: Raphael Jan Ferraris  ( https://www.instagram.com/rcferraris/ )

BLNC Facets : Pride in Everyday Edgy PASIG What is everyday life like as a queer person on your side of the country? E: As a transwoman living in the Philippines, it's never been easy. Sure, people in this age may accept us, but not all. Some may treat and consider seeing us eye to eye as much as they see cis-women, but some have reservations. Progress in this society is still a long way off, but I would put my heart on my sleeves and let my hopeful self believe; that someday, empowerment would overcome my fears of being true to my own skin. That for a woman like me and people like me, consciousness would leave my system and being seen equally would be possible. To not be tainted with any degrading remarks for embracing the woman I've become and still becoming. Hoping that someday we get the equal rights that my brothers and sisters from the LGBTQIA+ community and I deserve. A woman like me can still hope. What would you like Filipinos to know about the LGBTQIA+ community where you are? E: I'll be holding their hands when I say that we're more than just their haircutters in their local salons. We're more than just entertainers at bars or the focal point of every joke or just being seen as entertainers at their favorite comedy bars. That the only fitting way for us to be represented in the media is by being the sass-mouthing best friend of their favorite protagonist in the story.  There's nothing wrong with all that, I just hope people won't box us like we're some kind of afterthought in their back burners. That some of us also want to be and do more and it won't make theirs less. For the same reason we ask for equal rights; it won't make theirs any less. But rather would only make our society more unified and secured. To let everyone have a seat on the table. https://www.instagram.com/edgyteresa/ Photographer: Wilmark Jolindon  ( https://www.instagram.com/thewilmark/ )