For its highly poetic employment of light and shadow and other photographic resources in its profound exploration of themes of loss and grief, of estrangement and reconciliation, and of ruin and renewal, the award for Best Cinematography goes to DAN VILLEGAS for "KONO BASHO"

For its masterful montage of the sights and scenes of road travel as captured in the mind of a driver coping with questions of time, class, and identity, the award for Best Editing goes to DOMINIC BEKAERT for "AN ERRAND"

For its focus on a marginalized sector of Philippine society; for its nearly epic sweep of the life and landscape of a people disempowered by the wealthy and the powerful and victimized by government neglect and corruption; for its highly convincing characters and effective ensemble acting by a cast of non-professional actors; And for its highly effective filmmaking in defense of the rights of indigenous people to their ancestral domain The award for Best Film goes to "TUMANDOK" by RICHARD JEROUI SALVADICO and ARLIE SWEET SUMAGAYSAY

For their highly effective use of ancient songs and ethnic instrumentation to complement its powerful depiction of an indigenous people's fight for its ancestral domain, the award for Best Musical Scoring goes to PAULO ALMADEN and THE ATI PEOPLE OF KABARANGKALAN and NAGPANA for "TUMANDOK"

For its highly effective melding of the resources of art direction to tell a poignant tale of personal loss, shared grief, and self-discovery amid the backdrop of a Japanese city recovering from the ravages of the 2011 earthquake and tsunami, the award for Best Production Design goes to EERO YVES FRANCISCO for "KONO BASHO"

For taking as its subject matter a sector that's relegated to the margins of society, and its powerful tale of an indigenous people's resolve to keep their ancestral land in the face of corruption and violence, the award for Best Screenplay goes to ARDEN ROD CONDEZ and ARLIE SWEET SUMAGAYSAY for "TUMANDOK"

For its savage take on Philippine television and how poor Filipinos willingly subject themselves to public humiliation for cheap fame and paltry fortune, the award for best screenplay goes to SONNY CALVENTO for "PRIMETIME MOTHER"

For its heartbreaking portrait of overworked and underpaid women-workers, and its subtle but mordant critique of their abuse and exploitation, the award for Best Film goes to "CROSS MY HEART AND HOPE TO DIE" by SAM MANACSA

For creatively evoking the din and blare of highway traffic, of silence and its interstices, as they are captured in the mind of a personal driver, as he journeys from Baguio to Manila and back, contemplating questions of destiny, fantasy, and identity, the award for Best Sound goes to JEDD DUMAGUINA and MARIO CONSUNJI for "AN ERRAND"

For its effective use of the resources of documentary cinema to shed light on an actual case of enforced disappearance and reveal dark truths about human rights in the Philippines, the Special Jury Prize goes to "ALIPATO AT MUOG" by J.L. BURGOS

For its compelling evocation of the glories of nature as seen through the eyes of two Lumad youngsters and their struggle to protect and preserve the Agusan Marsh of Mindanao, the Special Jury Prize goes to "PAMALANDONG SA DANOW (REFLECTION IN THE MARSH)" by BREECH ASHER HARANI

For its strong inner community voice of loving their land, and admirable representation of a strong young woman character who becomes a leader behind the men. The award for Best NETPAC FULL-LENGTH Film goes to "TUMANDOK (THE NATIVES)" by RICHARD JEROUI SALVADICO and ARLIE SWEET SUMAGAYSAY

For its deepest feelings of death and life and very delicate way of resurrection from grief, The award for Best NETPAC SHORT Film goes to "ABOGBAYBAY (SHOREDUST)" by P.R. MONENCILLO PATINDOL