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Tatlong Taong Walang Diyos (lit. ' Three Years Without God ') is a 1976 Filipino period film written and directed by Mario O'Hara set in the province of Laguna during the Second World War. The film stars Nora Aunor as barrio lass Rosario, Christopher De Leon as Japanese-Filipino army officer Masugi, and Bembol Roco as army guerilla fighter Crispin.
' Philippine Flag '), the Molo, Samahan ng Tatlong Persona Solo Dios, [5] and the Iglesia ng Watawat ng Lahi (lit. ' Church of the Race's Flag '). [3] Some of these groups regularly participate in Rizal Day celebrations in Rizal Park as an act of devotion to Rizal. [6]
The film is divided into three stories: "I Love You, Moomoo", "Ang Silid" and "Katumbas ng Kahapon". [2] [5]I Love You, Moomoo. Liza (Sharon) dies during her honeymoon with her husband Ramon (Tonton), but later on returns to earth to help him straighten out his life.
He subsequently played a Japanese-Filipino military officer in Mario O'Hara's period drama Tatlong Taong Walang Diyos. [14] The following year, De Leon appeared in two productions. He co-starred with Vilma Santos and Mat Ranillo III in Elwood Perez' Masarap, Masakit ang Umibig, which earned him a Best Actor nomination at the 25th FAMAS Awards. [15]
Ang Bagong Tipan: Salin sa Pagbabawi, 1991, Filipino translation of the New Testament of The Recovery Version of the Bible by Witness Lee. The translation was made possible by The Editorial Section of Living Stream Ministry. Ang Salita ng Diyos, 1998, a translation of the New Testament produced by Bibles International. Full text
Ang sa Iyo Ay Akin has garnered 253 million total views on YouTube as of March 2021, and was the most watched program on iWantTFC throughout its run. [17] It also became the most popular TV show on Netflix Philippines upon its premiere on the streaming platform.
In 2024, the Jesuit Communications Foundation, as tribute to Hontiveros’ 100th birth anniversary, organized a three-hour concert “Luwalhati sa Diyos: The Legacy of Father Honti” at Ateneo de Manila University’s Henry Lee Irwin Theater.
The film has been described by film historian Jose Capino as belonging to the "cinema of decolonization" along with Lino Brocka's PX and Augusto Buenaventura's Sa Kuko ng Agila, all explicitly addressing the issue of the American military presence in the Philippines during the Bases era, as the 1970s saw growing political and legal debates over ...