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ENDO starring Jason Abalos and Ina Feleo OPENS FEB 13!

From the makers of 'Ang Pagdadalaga ni Maximo Oliveros' and 'Sarong Banggi'... comes a love story about contractual workers in the Philippines...:lovestory:

For its revealing take on the lives of ’end of contract’ casual workers in the retail and service sector, and for its subtle and moving rendering of a love story amid an otherwise deprived social milieu, pitting romance against economics, drawing out both winners and losers, gainers and losers, hope and heartbreak.”

Cinemalaya 2007
Grand Jury Prize
Manila, Philippines

Cinemalaya 2007
Best Actress

Cinemalaya 2007
Best Editor


Rated A by the Cinema Evaluation Board!

Showing in the following cinemas:
- SM North
- SM Megamall
- SM Fairview
- SM Centerpoint
- SM Southmall
- SM Manila
- Gateway
- Glorietta 4


for REVIEWS and other info about the movie, please visit


  • ^ Hehe thanks! I want to watch this e. Buti na lang meron sa Southmall. :)
  • Check out the new music video of "Sa Madaling Salita," the Endo theme song by Ang Bandang Shirley. View the video on Endo's blog, or learn more about Ang Bandang Shirley on their Multiply account.

    Graded "A" by the Cinema Evaluation Board, Endo is the story of Leo (Jason Abalos), a temp worker who is used to the temporary. Typical of many young Filipinos, he hops from one contractual job to the next in order to earn a living for himself and his family. His relationships are similarly fleeting. When he meets the spirited dreamer Tanya (Ina Feleo), he is suddenly faced by the promise of a better future, but he doesn't seem equipped to handle it.

    Endo opens February 13 in Gateway and SM Cinemas.

    Add this up! http://endothemovie.multiply.com/
  • Hahaha I am not really a fan of Jason Abalos but i've read so many nice reviews about this film. They said that the story is the greatest love story ever told (dunno if they're referring only in Year 2007 :lol:). Dunno if its an exaggeration though haha!

    At ang nagsabi nun ay nagsabi din na ang Lust Caution is a romantic film so dunno if im going to believe them :hiya:
  • Corrrect!Corrrect! PEx Rookie ⭐
    contradiction, ikaw ba si Jade Castro? :p

    I''ll rent this on DVD when it's released.
  • cinelamourcinelamour PEx Influencer ⭐⭐⭐
    YES! Finally!
  • papalabas rin pala sa Glorietta 4!

    pruedish, try to see it and judge for yourself :)
  • micamyxmicamyx PEx Influencer ⭐⭐⭐
    Yehey! meron sa gateway dun ako manonood :)
  • Corrrect! wrote: »
    contradiction, ikaw ba si Jade Castro? :p

    I''ll rent this on DVD when it's released.

    haha hindi ako si jade pero kilala ko siya :)
  • papalabas rin pala sa Glorietta 4!

    pruedish, try to see it and judge for yourself :)

    Hahaha i'll definitely put this on my schedule. :D Mukha naman talagang maganda e, though diko mashado like si Jason. :hiya:
  • maraming nagkagusto kay jason sa movie na 'to. bagay kasi sa kanya yung role :)
  • ^ Haha let's see. Anyway, nakayaya ako ng friend to go with me. Hesitant pa nung una e, kasi di sya familiar sa movie. Buti pumayag haha! Ayan bale 4 na kaming manonood :glee: si cinelamour, si micamyx, ako tsaka friend ko hehehe. :D
  • A review of the movie from http://endothemovie.multiply.com

    Endo: A 'must-must-must-must-see' film
    by Vince Groyon

    Now this is a movie.

    "Endo" is slang for "end of contract," the contract being the usual 6-month working period for wage earners -- salespersons, waiters, hotel staff, etc. -- by employers who want to avoid providing their workers with the benefits prescribed by law. It's a kind of permanent transitory state for these workers, who must repeat the jobhunting cycle every 6 months. In this movie, it's also a metaphor for an inability to commit to a romantic relationship for any long period of time. As one character puts it, past a few months in a relationship, one becomes guilty of "overstaying."

    Director Jade Castro, with co-writers Michiko Yamamoto and Raymond Lee, begin with this situation and then proceed to flesh out a love story astounding in its determined lack of sentimentality, its unexpected tenderness, and its ring of truth. This is a movie about people whom we are made to care about, and the filmmakers take us on the characters' complex emotional journey with humor, grace, and insight.

    Endo refreshingly refuses to resort to the standard tropes of movie romances and melodramas, and it's precisely this refusal that makes it romantic and moving. These characters move in an imperfect world that we recognize, and their indecision and turmoil could be ours as well.

    Jason Abalos, in a sure-footed, unstudied performance, plays Leo, a contractual worker who supports his layabout father (Ricky Davao) and a younger brother (Alchris Galura, who brings an offhand charm and candor to his role). He takes on the burden matter-of-factly, accepting it as his lot and making the most of it.

    His lovelife has been a string of casual girlfriends, each one of which stays symbolically in his life through an object that he's borrowed -- a CD player, a cell phone. (It's to the movie's credit that its literariness never feels forced or heavy-handed.) However, he's lately felt a hankering for something more permanent -- the "endo" lifestyle is starting to wear him down. He catches the eye of Tanya (Ina Feleo, in a raw, heartbreaking performance), who's a contractual salesperson like him. She wins him over, and he passively allows himself to enter another relationship.

    It's a standard boy-meets-girl plot, but you wouldn't know it from the wealth of insight and detail that the filmmakers pack into it. The film captures the world of contractual workers perfectly, from the routine of printing out resumes at Internet shops, to the little farewell get-togethers they throw to celebrate the end of a co-worker's contract, to the instant bonding between contractual workers who understand the endo lifestyle. It's a world where new bedroom slippers can substitute for flowers, where strangers offer advice on which brand of condom is better ("Mas OK yan -- manipis."), where sharing a set of headphones qualifies as a date.

    I could go on and on about this gem of a movie, but I'll stop here. I've only seen half of the competing films, but this has my vote for "Best Picture" for now. Must-must-must-must-see.
  • Endo
    (End of Contract)

    A film by Jade Francis Castro

    Opens 13 Feb 2008 at the following cinemas (as of 04 Feb):
    SM: Megamall, North Edsa, Manila, Southmall, Fairview, Centerpoint
    Ayala: Glorietta 4

    Graded ‘A’ by the Cinema Evaluation Board
    Special Jury Prize, Cinemalaya 2007, Manila, Philippines
    Best Actress (Ina Feleo), Cinemalaya 2007, Manila, Philippines
    Best Editing (JD Domingo), Cinemalaya 2007, Manila, Philippines
    Official Selection, Festival des 3 Continents, Nantes, France


    Leo is used to the temporary. Typical of many young Filipinos, he earns a living for himself and his family by hopping from one contractual job to the next – in fast food, grocery, and department stores. His relationships with women are similarly fleeting. When he meets the spirited dreamer Tanya, he is suddenly faced by the promise of a better future, but he doesn’t seem equipped to handle it. Endo is short for “end of contract,” or what temp workers call their last day of work until the next job comes along. Endo depicts a nation where money, dreams, and love are elusive. ###

    Technical Data

    Screening format: Video, NTSC
    Screen ratio: 3:4
    Audio: Stereo
    Language: Filipino with English subtitles
    Running time: 96 minutes

    Director’s Bio and Filmography

    Jade Francis Castro is a writer, director and producer who has worked for both commercial and independent features and shorts, television, and music video in numerous capacities. His short film Hopya Love Me Too won the Kodak Award in 2000 and participated in the first Cinemanila International Film Festival. He wrote the screenplay for First Day High in 2006 and co-wrote D’Anothers in 2005. As one of the founding members of ufo Pictures, he co-produced the 2005 Cinemalaya entries Sarong Banggi and Ang Pagdadalaga ni Maximo Oliveros. He has also written film reviews for, among others, Pelikula Journal and Philippine Daily Inquirer. He graduated from the University of the Philippines with a degree in film. ###

    Cast and Crew

    Directed by: Jade Francis Castro
    Written by: Jade Francis Castro with Michiko Yamamoto & Raymond Lee
    Cast: Jason Abalos, Ina Feleo, Ricky Davao, Alchris Galura, CJ Javarata

    Producers: Ned Trespeces, Michiko Yamamoto
    Co-producers: Emmanuel Dela Cruz, Raymond Lee
    Cinematography: Wowie Hao
    Editing: JD Domingo
    Assistant Director: Mariami Tanangco
    Production Manager: Rachelle Navarro
    Production Design: Jeck Cogama
    Production Mixer: Mark Locsin
    Musical Scorer: Owel Alvero
    Sound Designer: Coreen De San Jose
    Colorist: Luis Quirino
    2nd Assistant Director: Roy Vives Anunciacion
    Script Continuity: Roy Vives Anunciacion
    2nd Production Manager: Yam Lacaba
    Acting Coach: Emmanuel A. Dela Cruz
    Additional Cinematography: Maisa Demetillo
    Gaffer: Gabriel ' Jhapz' Bagnas
    2nd Gaffer: Carlo 'Long' Royo
    2nd Camera Operator: Ned Trespeces
    Assistant Cameraperson: Alfredo Perez, Jr., Carlos dela Torre
    Boom Operator: Herbert Relagio
    2nd Unit Production Mixer: Jojo Jacinto
    2nd Unit Boom Operator: Boyet de Jesus
    Wardrobe and Props: Popo Diaz, Shane Escueta
    Production Assistants: Ria Torrente, Rikki Magno
    Setmen: Marco Manalang, Ronald Barros
    Catering: Loreta Velasco, Edwin Ahorro
    Utility: Carlo Paule, Jeff Paule
    Grips: Jun Guillermo, Louie Sabillo, Eddie Galora, Sam Devina,
    Jimmy Itang, Eric Comile
    Video Technician: Cesar Yambao

    Endo: Must-see invisibility
    By Jerome Gomez

    Endo is a film so deceptively simple its significance and level of achievement may not dawn on you the moment the end credits roll. The full impact of this work creeps up on you and therein – in its supreme subtlety, the sheer invisibility of its sleight of hand – lies its devastating power.

    Invisible people

    Fittingly it tells the story of invisible people. No, this is not a supernatural thriller with heroes and villains possessing superhuman powers. It’s about ordinary people rendered “invisible” by the permanent impermanence of their tenure as perennial contractual laborers. They work in the retail and service sectors, such as in fast food and department stores. In the Philippines, establishments usually engage them only for three- to five-month periods to avoid complying with legal obligations such as health care, union, social security, and other regular employee benefits.

    ‘Endo’ defined

    The term ‘endo’ is a slang and abbreviation for ‘end of contract,’ or what temp workers call their last day of work until the next job comes along.

    A short synopsis

    The story centers on Leo, a temp who is used to the temporary. Typical of many young Filipinos, he hops from one contractual job to the next in order to earn a living for himself and his family. His relationships are similarly fleeting. When he meets the spirited dreamer Tanya, he is suddenly faced by the promise of a better future, but he doesn’t seem equipped to handle it.

    Special Jury Prize

    The Cinemalaya 2007 Jury awarded the film the Special Jury Prize “for its subtle and moving rendering of a love story amid an otherwise deprived social milieu, pitting romance against economics, drawing out winners and losers, hope and heartbreak.”

    Exceptional leads

    The same jury gave the Best Actress prize to Ina Feleo, whose film debut Endo is. Daughter of famed thespians Laurice Guillen and Johnny Delgado, the 21-year old ingénue meets the stacked expectations that come with lineage and exceeds them. She plays the female lead role Tanya to delicate perfection. Praise for her performance has been unanimous, her onscreen presence described as luminous, beguiling, and a delight to watch. Writer Jessica Zafra notes, “(She) manages to be tough and vulnerable, plain and beautiful at the same time.”

    Playing the difficult and complex lead role Leo, Jason Abalos (21) springs a surprise on everyone, especially those who have been used to seeing him Act (yes, with a capital ‘A’) in TV soaps and teenybopper flicks. His performance in Endo has been called “poignant” by Manunuri Lito Zulueta and “deeply moving and heartfelt” by critic Mario Bautista who also commended Jason’s display of “marked maturity and depth.”

    The team behind the film

    Behind Endo is the same team that created the seminal Ang Pagdadalaga ni Maximo Oliveros. The ufo Pictures team is composed of five multi-awarded screenwriters whose credits include some of the most successful – both commercially and critically – local films in recent memory. Anak, Tanging Yaman, Magnifico, Milan, Jologs are some of them. They found that writing for the commercial studio system had its limitations and share of frustrations. At times it felt like being invisible. The ability to conform to formulas was prized over the individuality of a unique voice.

    And so, in pursuit of greater creative freedom and artistic control, Raymond Lee, Emmanuel Dela Cruz, Ned Trespeces, Jade Castro, and Michiko Yamamoto banded together and started producing their own films, beginning with the Cinemalaya Batch 1 films Sarong Banggi and Ang Pagdadalaga ni Maximo Oliveros and now Endo, Castro’s first full-length feature as director.

    The team is now working hard on bringing Endo to a wide audience all over the country. It is a challenge they did not anticipate would be so demanding and yet so closely linked to production. They’ve learned first-hand that audience building is not optional – it is crucial if they are to survive as storytellers and not be shunted off to invisibility. ###

    (Jerome Gomez is an award-winnng writer, poet, and magazine editor.)

    Director’s Notes
    By Jade Francis Castro, writer/director, Endo

    A friend who worked as a clerk in a clothing outlet once described his job as “five months-five months.” He’d be out of that store after five months, then apply for a job in another one for the next five months. It was contractual work, the only kind of suitable work he could find. I’ve always known other friends and neighbors like him, and my situation was similar. After college, I was taking whatever job I could find in the entertainment industry, with no security or regularity. I figured it was a typical lifestyle of my generation. Only later would I realize that it was a national state of mind.

    Three years ago, workers from the largest chain of department stores in the country were on strike, camped outside the building for weeks. I passed by daily on my way home from work, and naturally got to conversing with some of them. The issue of contractualization was a larger beast than I thought, rooted in corporations’ interests and government indifference. I thought of my friend and wondered why he didn’t particularly see his situation as a problem, or why few of us do. The everyday ills are too ordinary that it’s easy not to mind them. That was the precise moment I wanted to make a film about it.

    In cinema, poverty is almost always represented by a certain appearance. In the Philippines, poverty can’t seem to be discussed without the spectacle of squalor. A filmmaker once said the Filipino people are poor, but not in spirit. I admire the inspiration, but can’t exactly agree. I always saw poverty as something that attacks the spirit. With Endo, I was interested in the more invisible kind of oppression: the one that nestles inside the head.

    I originally envisioned Endo as a study of a man – to describe a young life with no permanence, no direction, no future, and how this quality of life shapes his behavior, or vice versa. Perhaps more ambitiously, I wanted him to personify the way I saw my country: the paradox of trudging towards a dead-end wall with no hope and dreaming to become better.

    Endo is a tribute to the multitude of struggling workers in the country. With my co-writers and partners at ufo Pictures, we strived to stay as close to realities as possible. Certain elements from interviews with contractual workers made their way into the story, but often, research only provided evidence to what we’ve already been observing in our own time.

    There was an additional challenge. I wanted Endo to be about contractual workers, but I also wanted it to be for them. It was to be a movie that could engage and entertain, and also be a mirror with different angles of reflection. I pitched Endo as a story of love-on-a-budget, partly because I wanted to explore the link between terminating jobs and terminating relationships, partly because romance is among the few driving concerns of the young working class (it would be silly to avoid it), and partly because the romantic genre provides an irresistible allure to go to the cinema.

    In Endo, I saw an opportunity to talk about love as contract; to compare a person’s contracts between his lovers and his family, and to a lesser degree, his friends; and to illustrate those contracts that end and those that are eternally binding.

    I still consider it a minor miracle that the dots of these seemingly disparate aspects had been connected into a singular ball of clarity I desire to share with others. I’ve always said it’s my state of the nation address. For now. ###

    What they say about Endo

    Katangi-tangi ang Endo dahil sa kakaibang gaan ng pagsasalaysay nito sa kalagayan ng mga manggagawang kontraktuwal at ang bisa nito sa relasyong magkasintahan ng dalawang kabataang manggagawa. Mainam ang pagtutulungan ng iskriprayter and ng direktor sa pagpapalitaw ng isyung panlipunan at ng pansamantalang pagsusuyuan sa matimping paraan. Matimpi kaya't lalong matindi ang dating sa manonood na sawa na sa nakamamanhid nang pa-drama-drama ng mga telenovela.
    —Bienvenido Lumbera, National Artist for Literature

    Napanahon ang maamong pelikulang ito. Sa kauna-unahang pagkakataon, ipinakilala at tinalakay ang buhay, paggawa at pag-ibig ng subkontraktwal na manggagawa. Isa sa limang manggagawang filipino ngayon ay subkontraktwal; sa malls, ito ay siyam sa sampu na tulad ng kanilang putol-putol na term ng trabaho, paratihang sinisimulan muli't muli ang pagkakaroon ng kabuluhan ng buhay at pag-ibig. Pero hindi matatapos. Serialisado ang gawaing ito. Pinag-iisip tayong manonood kung paano humantong ang ating kabataan sa ganitong predikamento.
    —Rolando B. Tolentino, film critic

    The hand of (Jade Castro) has proven light and graceful in directing cast and scene – boding well for another sensitive filmmaker’s career. I can’t help hearing echoes in the Great Beyond from two cinema elders who impressed Jade most. Lino Brocka saying with a beam, “Aba, may style ang bata” and Ishmael Bernal pronouncing “Ay! Marunong na’ng mga bagets!”
    —Sylvia L. Mayuga, writer

    What makes Endo a gem of the drama genre in film is the way the societal converges with the relational and the personal without being forced. It is also a refreshing take at the conditions of the working class without raising the spectre of clenched fists and slum squalor.”
    —Ramon Sarmiento, writer, teacher, filmmaker

    Now this is a movie. Romantic and moving, this gem of a film offers a wealth of insight. A must-must-must-must-see film.
    —Vince Groyon, writer, teacher

    A love story told from the heart. Inspired performances from everyone, especially from Ina Feleo. Clearly, filmmaker Jade Castro has a bright future ahead. Kudos to producer Raymond Lee and everyone at ufo!
    —Vincent Nebrida, Film Distributor and Festival Programmer, USA

    A brilliant film on every level.
    —Raya Martin, filmmaker
  • buti na lang may matinong Pinoy film na ipapalabas sa 14...basura yung sa GMA Films...
  • korek! buti na lang
  • i saw this nung screening niya sa upfi. well written pero pangit ang technicals. a smart rom com.
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