BEHIND THE LENS: A DECONSTRUCTION OF THE ROLE OF

FILIPINO FILMS IN SHAPING PHILIPPINE CULTURE

PSYCHOLOGY AND EDUCATION: A MULTIDISCIPLINARY JOURNAL

Volume: 46
Issue 6
Pages: 742-755
Document ID: 2025PEMJ4493
DOI: 10.70838/pemj.460607
Manuscript Accepted: 07-23-2025
 Psych Educ, 2025, 46(6): 742-755, Document ID:2025PEMJ443, doi:10.70838/pemj.460607, ISSN 2822-4353
Research Article

Behind the Lens: A Deconstruction of the Role of Filipino Films in Shaping Philippine Culture
Chynna Nicole C. Capul, * Denzel Mark A. Ciruela, Axel Angelo Clarito, Stephanie K. Cubelo,
Aisha Ayre Angel P. Elic, Madel C. Manguerra
For affiliations and correspondence, see the last page.
Abstract
This study aims to examine and describe the influence of selected Filipino films—featuring Vice Ganda (The Mall,
The Merrier, Gandarrapido: The Revengers Squad), Vic Sotto (Enteng ng Ina Mo, Si Agimat at si Enteng Kabisote),
and Kathryn Bernardo (Hello, Love, Again, The Hows of Us)—in shaping and reinforcing Philippine culture. A
qualitative research design was employed, grounded in Ethnographic Theory and descriptive-ethnographic
methodology. The study analyzed dialogues, themes, and scenes from each film to identify how cultural values
concerning love, education, family, and society are expressed. Tables were also constructed to visually represent the
relationship between film and culture. Findings revealed that all the films analyzed showcase core Filipino values,
such as love for others, respect for elders, and the pursuit of knowledge. However, Vice Ganda’s films stand out for
their strong emphasis on family and societal culture, especially in empowering voices and advocating social change.
In contrast, the films of Vic Sotto and Kathryn Bernardo emphasize family and romantic values, portrayed through
communal meals, mutual support, and pre-meal prayers. In conclusion, Filipino films are not merely sources of
entertainment but are essential instruments for shaping and preserving national identity. It is recommended that
students and educators utilize these films as alternative learning materials in teaching Philippine literature, and that
further research be conducted on other film genres to explore additional aspects of Filipino culture.
Keywords: Filipino Films, Philippine Culture, Ethnographic Theory, representation, preservation

Introduction
Filipino films are not merely forms of entertainment; they serve as powerful channels for expressing the nation's culture and traditions.
According to Magsalin and Roquel (2023), Filipino films play a vital role in shaping viewers' awareness and portraying the dynamic
aspects of Philippine culture. Local films often narrate stories and issues deeply rooted in tradition, while also addressing contemporary
social concerns such as poverty and gender identity, which resonate strongly with the audience.
Under Republic Act No. 9167, the Film Development Council of the Philippines (FDCP) was established to promote the local film
industry. The Revised Rules and Regulations to Implement the Provisions of Republic Act No. 9167, Section 2, Statement of Policy
and Objectives, states that "The State guarantees freedom of expression. To achieve this end, the State shall promote and support the
development and growth of the domestic film industry, recognizing its role as an effective medium to uplift aesthetic, historical,
cultural, and social values and better understand and appreciate the Filipino identity." Common themes in Filipino films—such as
family, education, and love—reflect the cultural values of the Filipino people. These films serve as mirrors of real Filipino life, making
them practical tools in shaping national identity and discussing societal issues.
Film viewing and analysis also enhance students’ research skills and critical thinking. Through film reviews and critical studies,
students learn to gather evidence and form well-reasoned opinions, which are essential to academic writing. These activities, alongside
active viewing, teach them to evaluate various sources, including critical articles and scholarly literature about films, which they can
use in academic tasks.
Filipino cinema continues to evolve and adapt, incorporating foreign elements such as themes and styles from Korean dramas (K-
Dramas). According to Galit and Pangilinan (2021), Filipinos' quick acceptance of foreign culture stems from its relatable themes of
love and family. However, the consumption of foreign media may gradually erode appreciation for traditional Filipino culture,
especially among young people who are more drawn to foreign narratives and values.
This study aimed to analyze and describe the influence of Filipino films on Philippine culture. It examined how characters convey
cultural values through dialogue and themes. Through this research, the study aimed to fill gaps and provide new insights into how
Filipino films can impact cultural development and preservation.
Research Questions
This study aimed to examine and describe the influence of Filipino films on Philippine cultural values, particularly those related to
love, education, family, and society. Specifically, the study sought to answer the following questions:
1. What are the selected Filipino films of Vice Ganda, Vic Sotto, and Kathryn Bernardo?
2. What cultural values are reflected in the films of Vice Ganda, Vic Sotto, and Kathryn Bernardo in terms of:
1.1. Love Culture
1.2. Educational Culture

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1.3. Family Culture

1.4. Social Culture
3. Based on the analysis, what implications can be drawn regarding the promotion and preservation of Filipino culture through
these selected films?
Methodology
Research Design
This study utilized a qualitative research design grounded in Ethnographic Theory, employing a descriptive-ethnographic approach to
examine the influence of Filipino films on Philippine culture. Qualitative research was deemed appropriate for this study as it
emphasizes in-depth content analysis of films to reveal their relationship with Filipino traditions, beliefs, and customs. The descriptive-
ethnographic method focused on identifying and describing cultural elements embedded in selected Filipino films, particularly in the
domains of love, family, education, and social interaction. This approach allowed for a deeper analysis of emotions, narratives, actions,
and other filmic elements that reflect and shape Filipino culture, thus aligning with the study’s aim of deconstructing the cultural impact
of Filipino cinema as explored in Behind the Lens: A Deconstruction of the Role of Filipino Films in Shaping Philippine Culture.
Instrument
The primary research instruments were the six selected Filipino films—two each from Vic Sotto, Vice Ganda, and Kathryn Bernardo.
A tabular format, adopted from the study by Sarsale (2023), was used to present the findings systematically. Each table included the
following components: film title, genre, characters, setting, dialogues and themes, and the four cultural categories (Love Culture,
Family Culture, Social Culture, and Educational Culture). This format facilitated a structured and comprehensive analysis of the artistic
elements represented in each film. It enabled a clear comparison of how cultural values are portrayed across different films and actors.
Procedure
This study employed a qualitative method and descriptive-ethnographic approach to collect the necessary data. The following steps
were undertaken:
The researchers selected two films each from Vic Sotto, Vice Ganda, and Kathryn Bernardo as the primary sources for analysis.
The researchers viewed the selected films through accessible and reputable video streaming platforms such as iWantTFC, Netflix, and
YouTube.
After viewing, the researchers analyzed the films to identify representations of Filipino culture through key elements, including
emotions, dialogue, actions, and other cinematic components.
This systematic procedure ensured that the cultural content of each film was thoroughly examined and critically interpreted within the
framework of ethnographic theory, thus contributing to the deconstruction of the films' roles in shaping and reflecting Philippine
culture.
Results and Discussion
Filipino Films
Based on the dialogues in the films The Mall, The Merrier!, Gandarrapido: The Revengers Squad, Enteng ng Ina Mo, Si Agimat at Si
Enteng Kabisote, Hello, Love, Again, and The Hows of Us, various elements of Philippine culture are reflected, particularly about
Family Culture, Educational Culture, Social Culture, and Love Culture. This analysis aligns with the core objective of this study as
stated in the title: Behind the Lens: A Deconstruction of the Role of Filipino Films in Shaping Philippine Culture.
Table 1. Family Culture in Filipino Films
Pamagat Ng Genre Tagpuan Tauhan Dayalogo Tema
K Pelikula
U The Mall, Komedya Opisina Mola “Morisette, hindi na tayo nagkikita sa Pag-aalala at pagkalinga ng
L the Merrier! at Molina bahay. Kaya dumaan ako dito at ina sa kaniyang anak.
T (Vice Ganda) Drama (Ina nina dinalhan na kita ng pagkain. May dala
U Moira at akong tuyo at may sinangag pa!"
R Morisette)
A “Hindi ba't ang saya na magkakasama Pagpapahalaga sa
N Kubo Mola tayo? Buo, isang pamilya, kahit na sa pagsasama-sama ng
G Molina simpleng salo-salo lang ng pagkain." pamilya sa hapag-kainan
Gandarrapido: Komedya, Sa shop ng Meme “Rapido, mag-iingat ka palagi.” Pinapagtanto na ang
P The Romansa kanyang Boss Emy/ pamilya ay hindi lang sa
A Revengers ,Pantasya Gandarra dugo, kundi sa pagmamahal
M Squad & Drama Meme “Chino, kahit hindi tayo magkadugo at malasakit.
I (Vice Ganda) Emy/ magmula nong araw na naging bahagi
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L Gandarra ka ng buhay ko, naging pamilya na

Y kita, totoong pamilya.”
A Enteng ng Ina Komedya, Shop ni Enteng at “Manang mana, sa ka-pogian at ka- Pagpapahalaga sa katangian
Mo Romansa Enteng Faye astigan sa tatay niya.” ng anak.
(Vic Sotto) ,Pantasya Kabisote
& Drama Sala ng bahay “Ayaw niyo bang sumaya ang mama Paninindigan ng anak sa
nila Ina Rowena at ninyo?” kasiyahan ng ina.
Dimitri
“Hindi naman kailangan ni mama ‘to,
K nandito naman kami.”
U Sala ng bahay Enteng “Anong mali do’n? Masama ba sa Paghanap ng balanseng
L nila Enteng isang ama ang maghangad ng isang buhay para sa pamilya.
T normal na buhay para sa kanyang
U pamilya?”
R Kwarto ng “Paano kung maging kami ni Enteng? Pag-aalala ng pagpapabaya
A bahay nila Ina Ina Hindi kaya mapabayaan ko kayong sa pamilya.
N pamilya ko? Kayong lahat.”
G “Pinalaki ko ba kayong ganyan? Bakit Pagpapahalaga sa
Dining area sa Ina niyo binabastos si Enteng? Hindi niyo paggalang at pagkakaisa ng
P isang resort. lang ba naisip na kailangan natin ng pamilya.
A Padre de pamilya?”
M Engkantasya Faye “Kailangan ko muna mag paalam kay Pagtatangi sa pamilya at
I Kabisote, Enteng. Paano naman ang asawa ko? responsibilidad.
L Ina Verde Ang pamilya ko?”
Y at Ina
A Azul
Sala ng bahay Enteng at “Masaya magkaroon ng ganitong Pagkukumpara ng pamilya
ni Ina Jose pamilya, magulo pero normal.” at pagtanggap sa kalagayan
Si Agimat at Pantasya, Sa hapag Bratty, “Let’s eat!” Pagpapakita ng
Si Enteng Komedya, kainan Enteng at sabay-sabay na pagkain ng
Kabisote & Aiza “Aiza, prayer muna. “ pamilya at
(Vic Sotto) Aksyon pagdarasal bago kumain.
“In the name of the Father, the Son and
the Holy Spirit, Amen. Lord
maraming, maraming salamat po at
sana po basbasan niyo ang aming
kakainin, ang pag-alis naming ni Pagpapakita ng
Pantasya, Benok, lalong- lalo na po ang aming sabay-sabay na pagkain ng
Si Agimat at Komedya, Sa hapag Bratty, pamilya para sa pagbalik namin, eh pamilya at
Si Enteng & kainan Enteng at madatnan namin sila ditong buong pagdarasal bago kumain.
Kabisote Aksyon Aiza buo, walang labis, walang kulang. Para
(Vic Sotto) sa amin Lord, ikaw ang
pinakamakapangyarihan sa lahat. In
the name of the Father, the Son and the
Holy Spirit, Amen.”
Kweba Ada at “Mommy!” Pinapakita na handang
Faye ibuwis ng ina ang kanyang
“Gawin mo ang gusto mo sa akin, buhay para sa anak.
huwag lang sa anak ko!”
K Hello, Love, Romansa Apartment Ethan “Ako na bahala sa utang, unahin niyo
U Again & Drama nila Joy Ethan yung kalagayan ni Papa.” Pagsasakripisyo para sa
L (Kathryn sa Canada pamilya
T Bernardo) Coffee shop sa Jhim “Nagkahiwalay sila magkakapatid Pagsusumikap para sa mga
U Canada kaya ngayon si Ethan todo kayod para kapatid.
R magkasama sila ulit.”
A Bus stop sa Ethan “Makaka-ipon rin ako, makakabawi na Pagkamit ng pangarap para
N Canada ako sa inyo.” sa pamilya
G Nursing Home Pinay “Kung anong bumubuhay sa pamilya Pag-uuna sa kapakanan ng
sa Canada Nurse 1 ko, yun ang home.” pamilya
P Nursing Home Pinay “Ang anak ko, ang home ko.” Pagyakap sa
A sa Canada Nurse 2 responsibilidad bilang
M magulang
I The How’s of Romansa Bahay Tita Lola “Promise Hindi mo iiwan ang apo ko Pagbibigay payo
L Us & Drama ha. Promise tatanda kayo together.”
Y (Kathryn

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A Bernardo) “Promise aalagaan niyo itong bahay ko

ha? Ito lang and maiiwan ko sa inyo
kapag nawala na ako.”
Kalsada George “Magkano na utang ko sayo?” Pagtulong sa kapwa.
“Abuloy ko na ‘yan.”
Mikko
Switzerland Dar “Pero ‘yon kung nakita mo ‘yong Pagtulong sa pamilya at
pinagdaanan ni Primo, grabe George pag-aalaga.
sinalo niya lahat ng trabaho ni tito. Nag
hardenero naglilinis ng bahay at ng cr
at siya pa rin ang tumutulong kay tita
sa pag-aalaga kay tito.”
Bahay Primo “I want to stay, hanggang mabenta Pagpapahalaga sa kapwa at
natin itong bahay.” pamilya.

George “Payag kana ibenta itong bahay? “

“Kailangan ni Yohan.”
Primo “George, gusto ko lang talaga
tumulong.”

As seen in Table 1, the films The Mall, The Merrier!, Gandarrapido: The Revengers Squad, Enteng ng Ina Mo, and Si Agimat at Si
Enteng Kabisote depict Filipino cultural values of love and familial care both within and beyond the home.
In The Mall, The Merrier!, the dialogue by Mola—“Morisette, hindi na tayo nagkikita sa bahay. Kaya dumaan ako dito at dinalhan na
kita ng pagkain. May dala akong tuyo at may sinangag pa.”—reflects a mother’s concern for her child who rarely comes home. This
highlights the mother’s effort to maintain a connection despite physical absence. Bringing food, particularly tuyo and sinangag,
symbolizes affection and care, acts that are culturally significant in Filipino families. Such gestures foster emotional closeness and the
child’s sense of being nurtured.
In another line, “Hindi ba't ang saya na magkakasama tayo? Buo, isang pamilya, kahit na sa simpleng salo-salo lang ng pagkain.”, the
importance of gathering around the dining table is emphasized. This reflects how Filipino families treasure simple moments, such as
sharing meals, as expressions of unity and togetherness. These social experiences create the foundation of family culture, as a family
is not merely a group of individuals but a bond formed daily through shared activities, such as communal eating.
In Gandarrapido: The Revengers Squad, the dialogues highlight how deep familial bonds can form among individuals who are not
biologically related. The notion that true family offers care and support underscores the cultural belief that family is defined not only
by blood but also by love and responsibility.
In Enteng ng Ina Mo, Enteng’s line “Manang mana, sa ka-pogian at ka-astigan sa tatay niya.” demonstrates a father’s appreciation of
his child’s positive traits, which fosters their relationship and boosts the child’s confidence. Harper (2010) notes that fathers' active
involvement positively influences children’s behavior and development. Higher fatherly engagement correlates with fewer behavioral
issues, reinforcing the father’s role as protector and provider.
In Rowena and Dimitri’s exchange—“Ayaw niyo bang sumaya ang mama ninyo?” “Hindi naman kailangan ni mama 'to, nandito naman
kami.” The children resist their mother’s potential remarriage, believing their presence is enough to fulfill her emotional needs. Kim et
al. (2021) found that only 17% of older Filipinos support the idea of love and remarriage at an advanced age, highlighting cultural
resistance rooted in familial and societal beliefs.
Enteng’s line, “Anong mali do’n? Masama ba sa isang ama ang maghangad ng isang normal na buhay para sa kanyang pamilya?”,
reflects the traditional Filipino view of fathers as primary guardians striving for stability and well-being at home. Gutierrez (2024)
emphasizes that Filipino fathers aim for peace and a good life for their families.
Ina’s line, “Paano kung maging kami ni Enteng? Hindi kaya mapabayaan ko kayong pamilya ko? Kayong lahat.”, reflects the Filipino
mother’s deep sense of duty, prioritizing her family’s welfare over personal happiness. Tipon et al. (2022) highlight how older Filipinos
weigh family and societal acceptance in remarriage decisions.
Another of Ina’s lines, “Pinalaki ko ba kayong ganyan? Bakit niyo binabastos si Enteng? Hindi niyo lang ba naisip na kailangan natin
ng Padre de pamilya?”, underscores the cultural value of respect within the family. Galano (2017) asserts that failure to show respect,
particularly to parents, diminishes dignity in Filipino culture.
Faye’s line, “Kailangan ko muna magpaalam kay Enteng. Paano naman ang asawa ko? Ang pamilya ko?”, illustrates the emphasis on
communication and collective decision-making in Filipino families. Gozum (2020) states that close family ties and unity contribute to
the uniqueness of the Filipino family structure.
Enteng’s line, “Masaya magkaroon ng ganitong pamilya, magulo pero normal.”, shows a comparison between his family and Ina’s,

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suggesting that joy and love prevail even in single-parent households. Ramirez (2022) notes that Filipino films often portray the
challenges faced by solo parents as they strive to maintain unity amidst adversity.
In Si Agimat at Si Enteng Kabisote, the scene where Bratty, Enteng, and Aiza dine together underscores the value of shared meals.
Regular family meals enhance social and emotional well-being, foster self-worth, and reduce stress and depressive symptoms (Utter et
al., 2018). Pre-meal prayers of gratitude and protection are also observed, a Catholic-rooted tradition that is still widely practiced
(Philippine News Agency, 2023).
In Hello, Love, Again, Ethan’s line, “Ako na bahala sa utang, unahin niyo yung kalagayan ni Papa.”, shows the eldest child’s
willingness to sacrifice for the family. Diaz (2024) observes that firstborns often prioritize familial needs, reflecting Filipino
collectivism where the family’s welfare outweighs personal interests.
Jhim’s statement, “Nagkahiwalay sila magkakapatid kaya ngayon si Ethan todo kayod para magkasama sila ulit.”, shows the eldest
sibling’s effort to reunite the family. Díaz (2024) notes that eldest children often bear the responsibility of caring for their siblings,
making personal sacrifices.
Ethan’s line, “Makaka-ipon rin ako, makakabawi na ako sa inyo.”, expresses a desire to repay his family for their support, driven by
utang na loob (debt of gratitude), a key Filipino value (Rungduin, 2024).
A Filipino nurse’s line, “Kung anong bumubuhay sa pamilya ko, yun ang home.”, highlights an OFW’s view of family as home, no
matter the distance. Pawilen (2018) emphasizes that family serves as motivation for personal sacrifice and success.
Another nurse states, “Ang anak ko, ang home ko.”, reflecting a parent’s love and dedication to their child. Morillo et al. (2013) stress
that Filipino families prioritize children in all decisions and actions.
In The Hows of Us, George’s conversation, “Magkano na utang ko sayo?” and the reply “Abuloy ko na ‘yan.”, shows empathy and
financial support among friends. Katz, Lenhardt, & Mitchell (2007) suggest that expressions of gratitude in friendships go beyond
verbal exchanges and reflect deeper social bonds.
Tita Lola’s words, “Promise Hindi mo iiwan ang apo ko ha. Promise tatanda kayo together…”, and dialogues involving Primo and
George emphasize commitment, care, and shared responsibility. Cayoun (2011) notes that mindfulness and compassion in the present
moment define meaningful human engagement.
In summary, Table 1 presents various themes that illustrate Family Culture in Filipino films, including maternal care, family bonding
during meals, pre-meal prayers, kinship with non-relatives, parental sacrifice, children’s concern for parental happiness, mutual respect,
family unity, effective communication, and utang na loob. These cultural expressions highlight the vital role of Filipino films in
portraying and reinforcing family values that are central to the national identity, as explored in Behind the Lens.
Table 2. Educational Culture in Filipino Films
Pamagat Ng Genre Tagpuan Tauhan Dayalogo Tema
K Pelikula
U “Ito ang huling habilin at testamento ng inyong Pagpapahalaga sa
L The Mall, the Musical Opisina Attorney ama. Una, lahat ng empleyado ng Tamol Mall ay legacy o pamana at
T Merrier! Fantasy makakatanggap ng 13th, 14th, 15th, 16th 17th, nagpapakita ng
U (Vice Ganda) Comedy 18th, 19th, at 20th month pay. Ang limang tamang
R ektaryang lupain sa Tarlac, anim na kotse, joint pagkakahati-hati ng
A savings at check accounts niya sa bangko ay ari-arian (financial
N binibigay niya sa Bata at Matanda Foundation.” literacy)
G “Bakit ba sa dinami-daming pwede panggalingan
Gandarrapido: Komedya, Sa loob Chino ng kapangyarihan mo ay diyan pa sa lipstick
E The Revengers Romansa ng bahay galing?”
D Squad ,Pantasya
U (Vice Ganda) & Drama “Dahil ang lipstick ay kapangyarihan, para sa Pagkatuto sa labas
K marami lalong tumataas ang kompyansa nila sa ng paaralan at
A sarili. Ang lipstick ay kayang magtago ng pagtanggap sa sarili.
S Meme maraming damdamin at mga lihim.
Y Emy
O “Ito ang tatandaan niyo, walang takot sa pamilyang
N nagmamahalan at nagtatawanan. Kaya ravan lang
sa buhay!”
Enteng ng Ina Mo Komedya, "Ano Ada, kumusta ang school?" Pagpapahalaga sa
(Vic Sotto) Romansa Enteng at edukasyon.
,Pantasya Bahay Ada "Okay naman po, matataas grades ko."
& Drama Kabisote
“Good.”
Si Agimat at Si Pantasya, Bahay Benok “Dad, nakakuha ako ng student grant, Higher Pinapakita ang

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Enteng Kabisote Komedya, Police Officer Training. Scholarship dad, libre.” pagpapahalaga ng
(Vic Sotto) & Aksyon isang anak sa
edukasyon.
Uno “The New York offer is still on the table... you can Pag-aaral sa ibang
Hello, Love, Romansa Sa pass the NCLEX and become a nurse. The pay is bansa.
Again at Drama sasakyan better there.”
(Kathryn Joy
Bernardo) “But I’m already on my second term.”
The Hows of Us Mikko “Saan ka na? George, NMAT 'to, 30 mins Lang
(Kathryn pwedeng ma-late, baka di ka umabot.”
Bernardo)
“Oo, aabot ako, sandali Lang 'to.”
George
/tumawag ulit/

“Mikko?” Pagkaligta ng pag-

George aaral at pag-una sa
“Saan ka na? Malapit nang magsimula,bilisan mo kapakanan ng
Mikko na? Diyos ko, nandito na ang proctor, George! minamahal.
Hayaan mo na siya, okay? Ano, hindi ka na
Romansa magme-med school? George, utang na loob naman,
at Drama Kalsada George wag mong itapon ang future mo sa taong yan. For
once, unahin mo naman ang sarili mo.”

“Sorry, kailangan ko lang, ngayon lang.”

/Sumakay ng jeep/

“Para po!” /Bumaba sa sasakyan at tumakbo kay

Primo/

As presented in Table 2, the films The Mall, The Merrier!, Gandarrapido: The Revengers Squad, Enteng ng Ina Mo, Si Agimat at Si
Enteng Kabisote, Hello, Love, Again, and The Hows of Us depict various ways of learning and the value placed on education in Filipino
culture. These depictions illustrate how Filipino films reflect and influence public perceptions of learning both inside and outside formal
educational settings, thus supporting the overarching goal of this research: to examine how Filipino films shape and portray Philippine
culture.
In the dialogue between Attorney and Moises/Moira and Morisette in The Mall, The Merrier!, the line, “Ito ang huling habilin at
testamento ng inyong ama. Una, lahat ng empleyado ng Tamol Mall ay makakatanggap ng 13th, 14th, 15th, 16th, 17th, 18th, 19th, at
20th month pay. Ang limang ektaryang lupain sa Tarlac, anim na kotse, joint savings at check accounts niya sa bangko, ay binibigay
niya sa Bata at Matanda Foundation.” reflects financial literacy. It illustrates planned wealth distribution and responsible management
of assets, highlighting the cultural value of preparing for the future and supporting both employees and charitable causes. According
to Lusardi (2015), financial literacy encompasses not only knowledge and understanding but also the ability to make informed and
effective financial decisions. This includes practices such as saving, debt reduction, and proper allocation of resources.
In Enteng ng Ina Mo, the exchange between Enteng and his daughter Ada highlights parental concern and involvement in a child’s
education. By checking on his daughter’s studies, Enteng demonstrates how Filipino parents often support their children's academic
journey, which helps children build confidence, develop skills, and pursue success.
In Gandarrapido: The Revengers Squad, the dialogue between Chino and Meme Emy illustrates the importance of learning outside the
classroom and self-acceptance. It demonstrates that education is not limited to formal institutions, but also begins at home through life
lessons, personal experiences, and family guidance. This perspective emphasizes that learning is a continuous and experiential process.
Straka (2002) asserts that learning should be viewed broadly as a lifelong process encompassing formal, informal, and non-formal
education. He emphasizes the concept of lifelong learning, which promotes innovative learning approaches, values all forms of
education, and brings learning closer to home and community.
In Si Agimat at Si Enteng Kabisote, Benok’s line, “Dad, nakakuha ako ng student grant, Higher Police Officer Training. Scholarship
dad, libre.”, reflects the significance of educational opportunities, especially scholarships, in achieving personal and professional
growth. His pursuit of a scholarship shows dedication to serving the nation and enhancing his skills. Scholarships not only provide
financial aid but also motivation. In the Philippines, the Tertiary Education Subsidy (TES) provides financial support to college
students. Capinig et al. (2023) found that TES recipients experience reduced stress and increased determination to complete their
education, with families expressing gratitude for such support.
In Hello, Love, Again, the dialogue between Uno and Joy—“The New York offer is still on the table... you can pass the NCLEX and
become a nurse. The pay is better there.” and “But I’m already on my second term.”—highlights the Filipino view of education as a

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crucial investment for upward mobility. Many Filipinos aspire to study or work abroad, not only for personal advancement but also to
support their families. Bhardwaj (2016) emphasized that education is indispensable across all aspects of life—personal, social, political,
economic, and cultural—making it a key to holistic development. This dialogue also reflects the Filipino culture of determination and
perseverance in education, where long-term success is prioritized over short-term convenience.
In The Hows of Us, a conversation between two friends—“Saan ka na? Malapit nang magsimula, bilisan mo na? Diyos ko, nandito na
ang proctor, George! Hayaan mo na siya, okay? Ano, hindi ka na magme-med school? George, utang na loob naman, wag mong itapon
ang future mo sa taong yan. For once, unahin mo naman ang sarili mo.”—depicts the tension between personal love and professional
goals. Mikko encourages George to prioritize the NMAT (National Medical Admission Test), a requirement for entering medical school
in the Philippines (RiseMD Reviews, 2024). George’s decision to forgo the exam due to her relationship with Primo demonstrates the
emotional struggles faced by students balancing personal and academic commitments.
Similar to George’s situation, many Filipinos face various barriers to education. According to CHED Chairman Prospero de Vera, in a
2024 Senate budget hearing, the top five reasons for college dropouts are financial difficulty, family issues, relocation, medical/mental
health problems, and academic challenges. Alarmingly, the rise in mental health-related dropouts was unexpected, and CHED
acknowledges a lack of guidance counselors to address this issue (Radyo Pilipinas, 2024).
In summary, Table 2 highlights how selected Filipino films starring Vice Ganda, Vic Sotto, and Kathryn Bernardo emphasize education
as an essential element of personal growth. These films also show that learning extends beyond formal schooling and includes
experiences, advice, and values imparted by family members and the community. Filipino films, therefore, serve as a cultural mirror,
portraying diverse methods and values related to education, consistent with the purpose of this study: to deconstruct the role of Filipino
films in shaping Philippine culture.
Table 3. Social Culture in Filipino Films
Pamagat Ng Genre Tagpuan Tauhan Dayalogo Tema
K Pelikula
U Opisina ng "Hindi naman kinakailangang babae ang Nagpapakita ng
L The Mall, the Musical Mall Moira magmay-ari ng mall na ito. Dahil ang diskriminasyon sa
T Merrier! Fantasy kakayahang magmay-ari ng mall ay wala kasarian at pagbibigay-
U (Vice Ganda) Comedy sa kasarian, kundi nasa puso!" diin sa gender equality.
R May espesyal kaming offer. Dahil pag Nagpapataasan ng benta
A Mall Moira at bumili ka ng remote, may libreng, TV!" sa paninda.
N Morisette
G "Pag bumili ka ng TV, may libreng
remote. 'Yong remote, high-tec!"
P “Philippine Army?! Okay lang
A Gandarrapido: Komedya, Sa shop ng masisante ako, pangarap ko 'to, bro!
N The Revengers Romansa kanyang Chino Alam mo kikita na ako makakatulong pa
L Squad ,Pantasya Boss ako sa bansa..” Paglilingkod sa kapwa,
I (Vice Ganda) & Drama bayanihan at diskarte sa
P “Dito nalang ako sa bahay, tutulong buhay.
U nalang ako sa pananahi mo at
N maghahanap ako ng mga raket-
A raket/sideline jobs dito..”
N Komedya, “Ba’t ang aga mo? “May operation kami, Pagtutok sa trabaho at
Enteng ng Ina Romansa Shop ni Enteng, Daddy.” pagbibigay galang sa
Mo ,Pantasya Enteng Faye & responsibilidad.
(Vic Sotto) & Drama Benok “Oh sige, pahinga kana.”
“Kumusta trabaho?”
Dedikasyon sa trabaho at
Hapagkainan Enteng, "Lahat naman po ng hawak kong kaso, pag-asa sa pag-angat.
nina Enteng Benok & nasosolve ko, Dad. Tsaka ito pa, hindi pa
Ada sure pero baka mataasan ako ng ranggo."
Enteng, “Kanina pa namin sinabi ng Mommy mo
Dining area Dimitri, Ina, na mamaya na ‘yang trabaho.” Pagpapabaya sa pamilya
ng isang Pip, Tudis, dahil sa Pagkaka-abala sa
resort Jose, Bogart “Sandali lang!” trabaho.
& Monay
“Hindi maaalis sa kanyang isip ang
Si Agimat at Pantasya, Kweba Ermetanyo takot dahil nakita niya nang patayin ng
Si Enteng Komedya, mga halimaw ang mga magulang niya.
Kabisote & Aksyon Gayundin, ang pagtangkang pagkuha sa
(Vic Sotto) kanila ng mga ito.” Pandurukot ng mga bata.

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“Bakit kinukuha ng mga halimaw ang

Samara mga bata?”

“Para buhayin ang maitim na kaluluwa

Ermetanyo ng mga kampon ng kadiliman.”
Hello, Love, Romansa Bar ni Ethan Jhim “Malay mo kumakayod lang Talaga Pagharap
Again & Drama sa Hong ’yon, syempre nag ibang bansa eh.” sa hamon ng migrasyon
(Kathryn Kong
Bernardo) Bahay ng Joy “Niloko ako ng amo ko, Ethan. Yung Pag-abuso sa empleyado
amo ni Joy sa kinakaltas niya sa sahod ko para sa Tax,
Canada hindi niya pala binabayad.”
“Isama mo naman ako d’yan sa raket, Pagharap sa
Coffee shop Jhim marami akong pangangailangan pangangailangan
sa Canada ngayon.”
Kwarto ni Ethan “Si Papa, nag positive sa Covid.” Pagharap sa krisis
Ethan sa pangkalusugan
Hong Kong
George “Because we have to think for you men
The Hows of Romansa too! While cooking, cleaning, washing
Us & Drama your clothes for you just so you and your
(Kathryn simple brains can function. You can’t
Bernardo) survive without us” Pagtatalo sa pagiging
matimbang ng dalawang
Debate Event “I beg to disagree. We can survive kasarian.
Primo without you. You can’t survive without
us men! Because we are the ones who
make the tough calls. Because we know
when to cut our losses. Because we don’t
let our emotions, or our moral scruples
prevent us from taking a win. And unlike
you. We think more objective. Pero bakit
ba natin ito pinadedebatehan? One sex is
not better than the other, men and
women are complimentary. We should
not be going up against each other, in
fact, we should be together.”

As seen in Table 3, various social issues are presented, such as gender discrimination, lack of security, and the value of work, drawn
from the films The Mall, The Merrier!, Gandarrapido: The Revengers Squad, Enteng ng Ina Mo, Si Agimat at Si Enteng Kabisote,
Hello, Love, Again, and The Hows of Us. These films reflect how Filipino cinema serves as a mirror to real-life societal concerns,
thereby supporting the aim of this research: to examine how Filipino films shape and portray Philippine culture.
In The Mall, The Merrier!, Moira’s line, "Hindi naman kinakailangang babae ang magmay-ari ng mall na ito. Dahil ang kakayahang
magmay-ari ng mall ay wala sa kasarian, kundi nasa puso!", illustrates gender discrimination. However, it also emphasizes equality,
particularly in the ownership of large businesses such as malls. Cotter et al. (2004) noted that between 1950 and 2000, significant
changes occurred in the role of women in the workforce, with female employment increasing from 29% to nearly 75%. Women entered
diverse fields and, in some cases, earned more than their male counterparts; yet, inequality in wages and opportunities persisted. This
supports the notion that ownership and success are not defined by gender but by ability. Being male or female should never be a barrier
to success.
In a later dialogue between Moira and Morisette—“May espesyal kaming offer. Dahil pag bumili ka ng remote, may libreng, TV!" and
"Pag bumili ka ng TV, may libreng remote. 'Yong remote, high-tech”—the characters exhibit competitive marketing strategies aimed
at increasing sales. Noble and Mokwa (1999) suggest that implementing marketing strategies can be time-consuming and difficult,
often resulting in failure. This scene reflects the daily struggle of Filipino entrepreneurs, who strive to outdo one another just to earn a
living. Similarly, the dialogues in Gandarrapido: The Revengers Squad portray the lived experiences of ordinary Filipinos who work
hard or find ways to support their families. According to Santiago (2019), films are clear representations of culture—they extend the
prevailing realities of society and showcase diverse responses to specific challenges.
In Enteng ng Ina Mo, the dialogue between Enteng and Benok—“Ba’t ang aga mo?” “May operation kami, Daddy.” “Oh sige, pahinga
ka na.”—demonstrates respect for one’s work and parental concern, highlighting the value of both work and family responsibilities.
Gozum (2020) emphasized that Filipinos deeply value family, which influences various aspects of life, including career decisions.
Dedication to work often stems from the desire to support one’s family, and in return, the family provides emotional support that helps
maintain work-life balance. A second dialogue—“Kumusta trabaho?” “Lahat naman po ng hawak kong kaso, nasosolve ko, Dad. Tsaka
ito pa, hindi pa sure pero baka mataasan ako ng ranggo.”—shows Benok’s commitment to work and hope for career advancement.
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Nibalvos (2019) noted that Filipinos highly value perseverance and peace, qualities that drive their dedication to work and community,
as well as their desire for a better life.
The dialogue between Enteng and Dimitri—“Kanina pa namin sinabi ng Mommy mo na mamaya na ‘yang trabaho.” “Sandali lang!”—
illustrates the issue of work-family conflict, where job responsibilities negatively affect family relationships. Esguerra (2020) found
that poor work-life balance significantly contributes to job stress among Filipino employees, affecting their overall health and life
satisfaction.
In Si Agimat at Si Enteng Kabisote, the dialogue between Ermetanyo and Samara centers on child abduction used for evil purposes,
evoking fear in the community. The dialogue, “Hindi maaalis sa kanyang isip ang takot dahil nakita niya nang patayin ng mga halimaw
ang mga magulang niya. Gayundin, ang pagtangkang pagkuha sa kanila ng mga ito,” highlights trauma caused by violence and crime,
particularly to young victims like Bebeng. Such issues negatively impact national development, including tourism. In 2024, Canada
issued travel advisories against certain areas in Mindanao, such as Bukidnon and Surigao del Norte (The Philippine Star, 2024).
However, in 2025, the PNP-Anti-Kidnapping Group reported a decline in kidnapping cases following the shutdown of POGO
operations (Philippine News Agency, 2025). Despite the decrease, kidnapping remains a serious social issue that induces fear and
lasting trauma. As a result, some victims turn to spiritual support for comfort. Social support also plays a vital role in helping individuals
cope with such traumatic experiences.
In Hello, Love, Again, Jhim’s dialogue, “Malay mo kumakayod lang talaga ’yon, siyempre nag ibang bansa eh.”, shows understanding
and acceptance of the sacrifices made by Overseas Filipino Workers (OFWs) to support their families. Valdez and Oraiz (2024) found
that OFWs face many challenges, including homesickness, low wages, and employer abuse, but continue working abroad to send
financial support back home. Family understanding of these sacrifices is crucial in maintaining strong ties despite distance.
Joy’s statement, “Niloko ako ng amo ko, Ethan. Yung kinakaltas niya sa sahod ko para sa tax, hindi niya pala binabayad.”, exposes
exploitation of migrant workers through wage theft, where deductions are made but not remitted. Adhikari and Khatri (2023) reported
over 5,000 abuse cases involving OFWs in 2020, including wage theft, indicating weaknesses in protective policies for migrant workers.
Jhim’s line, “Isama mo naman ako d’yan sa raket, marami akong pangangailangan ngayon.”, reflects the reality of many Filipinos
facing poverty and the struggle for additional income. Esguerra et al. (2024) noted that informal workers, such as street and platform
vendors, display high adaptability despite irregular income and poor working conditions. They often rely on savings, alternative income
sources, and support from family or the government to sustain their livelihoods.
Ethan’s line, “Si Papa, nag positive sa Covid.”, reveals a sudden health crisis that affects not only a family member’s health but the
entire household’s well-being. Mirano (2023) found that having a relative with COVID-19 places significant emotional stress on
Filipino youth, and their ability to cope depends on family and community support, along with personal coping mechanisms.
In The Hows of Us, the debate between George and Primo addresses societal gender roles. George’s line, “Because we have to think
for you men too! While cooking, cleaning, washing your clothes for you just so you and your simple brains can function. You can’t
survive without us”, emphasizes the indispensable role of women. According to the United Nations, women comprise nearly 50% of
the global workforce and are vital to peacebuilding and economic development. Granting women equal rights enhances productivity
and economic growth. However, traditional views on women’s roles persist, portraying them as caregivers, teachers, and emotional
anchors within the household.
Primo’s rebuttal, “I beg to disagree... One sex is not better than the other, men and women are complementary. We should not be going
up against each other, in fact, we should be together,” presents an opposing yet ultimately unifying perspective. Manglal-lan (2024)
found that gender equality in work and household responsibilities is gaining acceptance, with women often leading the call for shared
duties. This growing egalitarian view fosters social unity.
In summary, Table 3 highlights various aspects of Social Culture as portrayed in Filipino films. It depicts the Filipino struggle amid
poverty, including hard work, sideline jobs, and compassion for others. The films also promote gender equality and reject
discrimination, address work-life balance and work-family conflict, and emphasize the importance of responsibility in one’s profession.
Additionally, they reveal the impact of fear and trauma, particularly among youth, caused by crime and violence. These portrayals
reflect real social issues faced daily by Filipinos and underscore the role of Filipino films in shaping societal values and awareness.
Table 4. Love Culture in Filipino Films
Pamagat Ng Genre Tagpuan Tauhan Dayalogo Tema
K Pelikula
U Moira/ "Alam mo, ang init na sa mundo, ayoko na
L The Mall, the Komedya Mall Moises at dito!" Pagpapakilig
T Merrier! at Gardo "Ayaw mo na dito? Saan mo gusto?"
U (Vice Ganda) Drama "E di sa mundo mo."
R "Gusto kong magpasalamat sa inyong lahat,
A Mall Moira dahil hanggang sa pagkakataong 'to, hindi niyo Pagmamahal sa
N pa rin ako iniiwan. Salamat sa inyo, ah! Walang mga tauhan ng

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G iwanan." Mall.
“Tandaan mo. Tayo ang unang magkakampi.
P Moira/ Tayo ang unang magkaibigan. At mahal natin Pagmamahal sa
A Opisina Moises at ang isa't isa." kapatid.
G Morisette "Mahal na mahal din kita, ate."
- Renz/ “Andito lang ako hindi kita iiwan, Cassandra.”
I Gandarrapido: Komedya, Backstage Madam Pagmamahal sa
B The Revengers Romansa “Meme Emy! Kailangan na natin sagipin si iba't ibang anyo
I Squad ,Pantasya & Velle Chino.” romantiko,
G (Vice Ganda Drama pagkakaibigan,
“Bakit? Ano ka ba niya?” at kapatiran.
Meme
Emy “Mahal ko siya... bilang kaibigan, para ko na
siyang kapatid.”
Velle
"Kaya mo bang buhayin si Ina? Ang mga anak
Enteng ng Ina Komedya, Sa bahay Monay niya at ang mga apo niya? Sigurado ka bang Pagmamahal ng
Mo Romansa Montecillo hindi mo siya sasaktan at mamahalin mo siya Apo sa Lola
(Vic Sotto) ,Pantasya & habang-buhay?"
Drama
"Mamo, hindi naman po masamang
K maghangad ng kaligayahan sa sarili. Lalo na po
U kung buong buhay niyo ay puro kaligayahan
L lang ng anak niyo ang inaatupad niyo. Hindi
T naman ho mawawala ang pagiging ina kung
U bubuksan niyo po ulit ang puso niyo."
R "Hindi ko kayang pagtaksilan ang mommy Pagmamahal sa
A Sa bahay Enteng ninyo. Nagtampo ako sa kanya, oo, pero hindi asawa
N Kabisote ko kayang gawin sa kaniya 'yon."
G “Hindi mo sinasadya? Lahat gusto ko nang
Sa Ina ibigay sa'yo. Pati sarili kong pamilya iiwan ko Pagsisinungaling
P Hapagkainan Montecillo para sa'yo, tapos ito lang gagawin mo sa'kin?" sa minamahal
A
G Samara “Agimat, mahal kita.”
- Si Agimat at Si Pantasya, Bundok Agimat Pagmamahal sa
I Enteng Komedya, “Samara, mahal din kita.” kasintahan
B Kabisote & Aksyon Ada “Mommy!”
I (Vic Sotto) Kweba Pagmamahal sa
G Faye “Gawin mo ang gusto mo sa akin, huwag lang Anak
sa anak ko!”
Airpot at Ethan “Diba sabi nila, ‘time stops when you don’t use
Hello, Love, Romansa at Restaurant it’? Gamitin na natin para mapabilis ‘yong
Again (Kathryn Drama oras. Excited na ‘kong makarating sa future na Pagmamahal sa
K Bernardo) Joy kasama ka.” kabiyak.
U
L “And we’re making that future happen.”
T Coffee shop Jhim “Sinaksak siya (Ethan) ng Triad kasi hindi Pagmamahal sa
U nakapagbayad… pinambayad nila ‘yong bahay Pamilya
R nila… nagkahiwa-hiwalay sila
A magkakapatid… kaya ngayon, si Ethan, tudo
N kayod, mapagsama-sama lang sila ulit.”
G Bahay Joy “I was willing to stop for you... ‘Yong pangako Pagmamahal sa
ko sa sarili ko na hinding-hindi na ako babalik Kabiyak
P ng Hong Kong, lulunukin ko. Makalipad lang (Sakripisyo at
A ako sa tabi mo…” Pagpili)
G Bar “I saw a man who, while never giving uwill
- The Hows of Romansa at George never give up, still gives his all, all the time. At Romansa, pag-
I Us Drama that moment naniwala ako. Yes, someday he asa at
B (Kathryn will be great. I want to be there when that day paniniwala.
I Bernardo) happens. I want to be by his side. Kaya sabi ko
G tapos na ang laban. Sige na, oo na panalo kana.
Mahal na kita.”

Table 4 presents various manifestations of the culture of love as seen in the films The Mall, The Merrier, Gandarrapido: The Revengers
Squad, Enteng ng Ina Mo, and Si Agimat at si Enteng Kabisote. In The Mall, The Merrier!, a pick-up line from the character Gardo—

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“Alam mo, ang init na sa mundo, ayoko na dito!”—suggests weariness and sadness in life. Moira’s reply, “Ayaw mo na dito? Saan mo
gusto?”, expresses care and concern, followed by Gardo’s flirtatious response, “E ‘di sa mundo mo!”, which elicits a feeling of romantic
excitement. This dialogue expresses a desire to be with someone beloved in a more meaningful and joyful world—a romantic
expression of love and affection.
According to Senko and Fyffe (2010), studies on pick-up lines emphasize their use primarily by men to initiate conversation with
women, often aiming to gain favor. These themes are commonly seen in romantic comedy films such as The Mall, The Merrier!.
In another scene, Moira’s dialogue, “Gusto kong magpasalamat sa inyong lahat, dahil hanggang sa pagkakataong 'to, hindi niyo pa rin
ako iniiwan. Salamat sa inyo, ah! Walang iwanan!”, conveys gratitude and affection toward those around her. The phrase “hindi niyo
pa rin ako iniiwan” shows admiration for loyalty and teamwork, while “walang iwanan” signals a commitment to mutual support.
This suggests that positive relationships between employers and employees can lead to successful business outcomes. Bhattacharya,
Sen, and Korschun (2008) argue that employers should emphasize such relational dynamics to promote growth and success. In the
film, Moira/Moises expresses gratitude not just as an employer, but also as a friend.
The dialogues between Moira/Moises and Morisette depict profound sibling love. Moira/Moises says, “Tandaan mo. Tayo ang unang
magkakampi. Tayo ang unang magkaibigan. At mahal natin ang isa’t isa,” underscoring their close bond. Morisette replies, “Mahal na
mahal din kita, ate,” expressing deep love and respect for an elder sibling.
McHale, Kim, and Whiteman (2006) emphasize that sibling relationships have a direct influence on one’s development and are integral
to the family dynamic. Despite occasional disagreements, siblings tend to reconcile quickly because of their shared understanding and
familial bond.
In Gandarrapido: The Revengers Squad, the dialogue between Velle and Meme Emy—“Andito lang ako hindi kita iiwan, Cassandra,”
“Meme Emy! Kailangan na natin sagipin si Chino,” “Bakit? Ano ka ba niya?”, “Mahal ko siya... bilang kaibigan, para ko na siyang
kapatid.”—reflects a form of love grounded in friendship and loyalty. Shaw et al. (2004) noted that growing up in supportive
environments fosters strong familial and peer relationships and reduces psychological distress.
In Enteng ng Ina Mo, Enteng states, “Hindi ko kayang pagtaksilan ang mommy ninyo. Nagtampo ako sa kanya, oo, pero hindi ko
kayang gawin sa kaniya 'yon,” emphasizing the importance of trust and fidelity in marital relationships. Despite misunderstandings,
love and respect must prevail. Ina’s emotional response—“Hindi mo sinasadya? Lahat gusto ko nang ibigay sa'yo. Pati sarili kong
pamilya iiwan ko para sa'yo, tapos ito lang gagawin mo sa'kin?”—reveals the deep pain caused by betrayal.
Gunderson and Ferrari (2008) asserted that romantic relationships are a key source of human happiness, but unmet expectations can
lead to emotional distress. Ina’s willingness to sacrifice everything highlights love’s intensity. At the same time, Monay’s question to
Enteng—“Sigurado ka bang hindi mo siya sasaktan at mamahalin mo siya habang-buhay?”—signifies her hope for a joyful future for
Ina.
Andayani et al. (2018) stressed that commitment, communication, and love are essential for family happiness. Monay’s advice—
“Mamo, hindi naman po masamang maghangad ng kaligayahan sa sarili…”—echoes Aguila et al. (2015), who found that widows often
focus solely on their children but also long for personal happiness.
In Si Agimat at Si Enteng Kabisote, Samara and Agimat's exchange of “mahal kita” signifies a deep emotional connection, solidified
by Samara’s tragic death. Ackerman et al. (2011) found that the expression “I love you” has varying impact depending on timing and
relationship context. This verbal affirmation of love, as per Gary Chapman’s Five Love Languages (Verywellmind, 2024), is the most
common method of conveying affection.
In Hello, Love, Again, Ethan’s dialogue—“Diba sabi nila, ‘time stops when you don’t use it’? Gamitin na natin para mapabilis ‘yong
oras. Excited na ‘kong makarating sa future na kasama ka.”—demonstrates the Filipino value of shared future-building and meaningful
time investment in relationships. Jhim’s line, “Sinaksak siya (Ethan) ng Triad kasi hindi nakapagbayad…”, underscores the centrality
of family in Filipino life and the cultural concepts of “utang na loob” and familial sacrifice.
Joy’s statement—“I was willing to stop for you... ‘Yong pangako ko sa sarili ko na hinding-hindi na ako babalik ng Hong Kong,
lulunukin ko…”—shows a Filipino's willingness to make personal sacrifices for love. According to Andayani et al. (2018), family
happiness is built on understanding, unity, and care—qualities embodied in Joy’s decision to prioritize love over personal goals.
In The Hows of Us, George’s dialogue—“I saw a man who… gives his all, all the time… I want to be there when that day happens…
Mahal na kita.”—represents faithful and selfless love. Stump (2006) explained that we love because we value certain traits in a person,
which reflects a culturally rooted romantic ideal in the Philippines of love that is enduring and devoted.
Conclusions
Based on the analysis, the following conclusions were drawn:
The selected Filipino films—The Mall, The Merrier, and Gandarrapido: The Revengers Squad by Vice Ganda, Enteng ng Ina Mo and

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Si Agimat at si Enteng Kabisote by Vic Sotto, and Hello, Love, Again and The Hows of Us by Kathryn Bernardo—richly portray
Filipino culture through creative performances that showcase values and societal norms.
These films reflect various cultural dimensions—such as love, education, social life, and family—demonstrating that Filipino values
and discipline are integral to the national identity.
Filipino cultural values, as portrayed in these films, serve as mirrors of Filipino identity and act as instruments of cultural preservation
for future generations.
For Students: Students are encouraged to support and watch Filipino films that highlight cultural values and traditions, fostering
awareness and appreciation of Filipino identity.
For Teachers: Educators are encouraged to analyze and utilize Filipino films as alternative tools for teaching Philippine literature, as
well as for enhancing critical thinking and cultural understanding.
For Researchers: Future researchers should continue exploring Filipino films that reflect cultural values. Comparative studies across
different networks and genres are recommended to further appreciate Filipino artistry and its contribution to cultural preservation.
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Affiliations and Corresponding Information
Chynna Nicole C. Capul
Surigao del Norte State University
Main Campus – Philippines
Denzel Mark A. Ciruela, MAEd
Surigao del Norte State University
Main Campus – Philippines
Axel Angelo Clarito
Surigao del Norte State University
Main Campus – Philippines
Stephanie K. Cubelo
Surigao del Norte State University
Main Campus – Philippines
Aisha Ayre Angel P. Elic
Surigao del Norte State University
Main Campus – Philippines
Madel C. Manguerra
Surigao del Norte State University
Main Campus – Philippines

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