Carlo Mendoza

Carlo Mendoza’s name pops up a lot if you’re hanging out in Filipino cinema circles. Maybe not the guy you see on billboards, but trust me, his fingerprints are all over some killer films. Let’s talk Manila Kingpin: The Asiong Salonga Story. That movie’s a whole ride—gritty streets, gangsters strutting around, vintage Manila just oozing from every frame. Mendoza’s work behind the lens? Wildly atmospheric. The way he played with shadows, you’d think the city was another character—smoky pool halls, rain-slicked alleys, all that jazz. Not your average cookie-cutter crime flick. Fast forward to GomBurZa. Totally different vibe, right? This one dives deep into the story of the three priests—Gomez, Burgos, and Zamora—whose execution pretty much kicked off the Filipino fight for independence. Mendoza switches gears hard here. The colors are more muted, the mood’s heavy. You can almost feel the weight of history pressing down in every shot. Dude knows how to make you feel stuff without hitting you over the head with it. Oh, and Rosario? That’s a period drama, old Manila again but way softer around the edges. Mendoza paints everything with this dreamy glow—nostalgic, a bit melancholic, honestly kind of gorgeous. The guy’s style morphs with the story, but it’s always got flavor. Not a one-trick pony, that’s for sure. If you’re into movies that actually look like someone cared, his stuff is worth a watch.