by Heinrich Domingo

The subjectivity of art in cinema can be construed as having the freedom to interpret and understand. But, as any filmmaker would attest, the notion of independent thinking ceases when the camera starts rolling. The lens zooms in to specific shots, frames are selective of certain environment, and lighting is used to overemphasize characters. Yet, no forewarning was sufficient to prepare us in the three-hour agony of watching a self-glorifying, history-mutilating, sect-promoting film that is Felix Manalo.

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