To say that this film is created as Iglesia’s way to further strengthen its stronghold and attrack non-members into its fold, may be inevitable.

Bela Padilla’s character’s transitions are more polished, I’d say, but with Dennis Trillo’s, I couldn’t really say some commendations. The original score is also worth-noting, having provided a haunting atmosphere, enough to magnify the intention of the most emotional moments.Īs for some flaws, one that distracts me the most is the inconsistency in prosthetics. The production is commendable in its choices, particularly its costumes and other crucial elements like architecture and language. In some portions, the camera shots scream with some sweeping appeal, and the shift of tones of colors when the timeline jumps to the 50’s is done with evident attention. The palettes are very appropriate and have provided an effective enforcement of different milleus used for the ever changing settings of the proceedings. One of the strongest points of the film, perhaps, is its visuals. His magic and charm work when he needs to, often when he has to speak those long speeches, even shrugging those instances when he has to keep himself mum and his bare hands folded to fists and hold himself back, in fear of Japanese forces having his followers killed and his very own throat, cut. Save the fact that the screenplay seems to have deliberately avoided to wisk the character with some moral flaw, to make it more human, Dennis Trillo has delivered every possible emotions to make his character credible. Most of the supporting actors are good for almost only one frame exposure, that dispensing with them may still not affect carrying out the exposition’s motives.īut the biggest star of the film, is no doubt the player of the titular character, himself, Dennis Trillo. There are some awkwardly inserted plotlines that may be necessary but placed at wrong places, and are more effective only at disrupting the seamless progression of the story rather than enforcing them. In some parts, such number works in delivering some crucial moments of the church’s history, but looses complete sense in the entirity of its 3 hr-run. There are atleast, a hudred of stars, gathered to pull off this stellar production. He hops from one religion to another in search of the “true church” he insists should only follow what is written in the bible, until he finally establishes the Iglesia Ni Cristo (Church of Christ), an act he claims to be a mere restoration of the true church that Jesus Christ, himself, founded in the 1st century. For most of his young life, Manalo is a devout Roman Catholic, but he eventually grows dissatisfied by the church’s teachings, which leads to a major turning point–leaving the Catholic faith. Opening in the rural countryside of Tipas in Taguig, “Felix Manalo” begins with Mylene Dizon’s character delivering a child–our titular character, Felix Manalo.

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