Film
- January 17: Agent X44 (Star Cinema)
- February 14: The Promise (GMA Films/Regal Films), Troika (Daven Productions International)
- February 21: Faces of Love
- February 28: You Got Me (Star Cinema)
- March 13: Siquijor: Mystic Island (Centerstage Productions)
- March 14: Happy Hearts (Regal Films)
- March 20: Pantasya (Centerstage Productions)
- March 21: M.O.N.A.Y (Misteyks obda neyson adres Yata) ni Mr. Shooli (Onabru Productions)
- April 7: Ang Cute Ng Ina Mo (Star Cinema/Viva Films)
- May 23: Baliw (Redd5Luke Productions)
- May 30: Paano Kita Iibigin (Star Cinema)
- June 13: Angels (Eagle Eye Productions)
- July 4: Tiyanaks (Regal Films)
- July 13: Kadin (Cinemalaya Productions)
- July 27: Ouija (GMA Films)
- August 29: My Kuya's Wedding (Regal Films)
- September 26: I've Fallen for You (Star Cinema)
- October 3: Mona, Singapore Escort (Bandit Films)
- October 10: Apat Dapat, Dapat Apat: Friends 4 Lyf and Death (Viva Films)
- November 14: One More Chance (Star Cinema)
- December 25: 2007 Metro Manila Film Festival:
- Bahay Kubo (Regal Films)
- Enteng Kabisote 4: Okay Ka, Fairy Ko: The Beginning of the Legend (M-Zet Productions)
- Katas ng Saudi (Maverick Films)
- Resiklo (Ignite Media)
- Sakal, Sakali, Saklolo (Star Cinema)
- Shake, Rattle & Roll 9 (Regal Films)
Read more about this topic: 2007 In The Philippines
Famous quotes containing the word film:
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“Perhaps our eyes are merely a blank film which is taken from us after our deaths to be developed elsewhere and screened as our life story in some infernal cinema or despatched as microfilm into the sidereal void.”
—Jean Baudrillard (b. 1929)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)