Ten years after his last feature and nearly 25 years since his historic Cannes win for “Anino,” the renowned Raymond Red returns to the director’s chair not by design, but by destiny.
(Edit to remove shadows) The renowned Raymond Red returns to the director’s chair not by design, but by destiny. TMT PHOTO
What began as a cinematography project on the period action-drama “Manila’s Finest” unexpectedly shifted into a directorial comeback. And with it, Red found himself standing at the center of a production that, in his words, felt “completely aligned” with what he’s always loved: history, nostalgia, and human complexity.
Set in 1969 Manila, the film — an official entry to this year’s Metro Manila Film Festival — stars Piolo Pascual as Capt. Homer Magtibay, a principled Manila police officer caught in a tangled web of murder investigations, political corruption, and inter-departmental power struggles.
(Remove text) Red welcomes the opportunity to effectively serve as a guide through time for the cast, and not just a director. PHOTO FROM MQUEST VENTURES
With Enrique Gil playing Piolo’s earnest young partner, 1st Lt. Billy Ojeda, and Ariel Rivera as their station chief, “Manila’s Finest” reconstructs a pivotal period in Philippine policing history, while asking deeply relevant questions about what has — or hasn’t — changed since.
Red reflected on this thoughtful timing, saying he expects viewers to naturally draw parallels to the present.
“I don’t want to feed those ideas right now,” he said carefully, “but I’m very sure they will relate it to what’s happening today.”
he original script, penned by Moira Lang, Sherad Sanchez, and Michiko Yamamoto, had long been in development and was initially set to be directed by Red’s niece, Rae Red. But when she stepped back for personal reasons during pre-production, Red — already on board as cinematographer — was asked to take the helm.
“I had already imagined how I would shoot it,” he shared. “So it just felt natural to take over.”
And yet, what could have been a straightforward transition became a creative renaissance.
“I haven’t done a feature in a decade,” the first and only Short Film Palme d’Or Filipino winner confessed to The T-Zone. “But I’ve always been drawn to period films. The ‘60s — especially 1969 — was a time of transition, and I saw the opportunity to explore how the image of the police began to shift, from being symbols of pride to something more complicated at the time.”
That complexity, he added, is central to the film’s depiction of corruption. “There are things in the story that will feel familiar,” Red said. “You look back at 1969 and realize how some patterns keep repeating. I think audiences will see that.”
Red’s fascination with memory and truth — ideas present even in his earlier independent works — finds fertile ground in “Manila’s Finest.”
“Not everything in the film is factually accurate, but it’s truthful,” he emphasized. “That’s an important difference. Our goal was to honor the period, the nuance of how people spoke, dressed, and thought — while also allowing the narrative to breathe.”
The result is a film that feels both classic and current.
On the one hand, it’s a rich, cinematic immersion into Manila in the late ‘60s, designed with meticulous detail and supported by a sweeping ensemble that includes Romnick Sarmenta, Jasmine Curtis-Smith, Joey Marquez, Soliman Cruz, Cedrick Juan, Kiko Estrada, and a returning Rica Peralejo-Bonifacio.
On the other hand, it’s an urgent commentary on the cyclical nature of power, accountability, and public trust, especially within institutions like the police.
As Red put it, “We recreated the past, but people will naturally think of today. That’s the power — and maybe the danger — of history repeating itself.”
Red is quick to credit the cast — especially Piolo and Enrique — for helping anchor the story’s emotional core.
“Yes, they’re very good-looking,” he chuckled, “but that changes as the film progresses. You’ll see them transform, not just physically but emotionally, as the story unfolds and challenges who they are and what they stand for.”
Supporting this narrative is a rising generation of actors like Ashtine Olviga, Ethan David, and Dylan Menor, alongside a creative crew that Red describes as passionate and collaborative. He may have been the only one on set with vivid memories of the ’60s.
Still, Red welcomed the opportunity to share insights and cultural references, effectively serving as a guide through time for the cast, and not just a director.
Produced by MQuest Ventures and Cignal TV, “Manila’s Finest” follows the prestige path of previous entries like “Gomburza” and “The Kingdom.”
For Red, it’s a full-circle moment — his first time at the MMFF, after years of working independently and mentoring filmmakers like his own sons, Mikhail and Nikolas Red.
“I’ve always believed in contributing to cinema in whatever way I can. I think these days, the lines between indie and mainstream are finally blurring. That’s a good thing, and I’m glad to be a part of it.”
“Manila’s Finest” opens on December 25.
