Dubbed the “Superstar” of Philippine entertainment, Nora Aunor has carved an enduring legacy through roles that showcased her emotional depth, raw intensity, and unmatched acting prowess.

As she passed away at the age of 71, we look back on some of her most iconic performances that defined generations and made a big impact on the Philippine cinema.

Rosario in Tatlong Taong Walang Diyos (1976)

Set during the Japanese occupation of the Philippines, Nora Aunor plays the role of Rosario, a school teacher who was left by her fiancé (Bembol Roco) to join the guerilla resistance. She was later on abused by a Japanese-Filipino officer, Masugi (Christopher de León) where she got pregnant with his child. It is one of the most complex and compelling depictions of wartime survival, shame, and moral conflict in Philippine cinema.

The film, considered bold and ahead of its time, was anchored by Nora’s stellar performance, which captured the emotional toll of war on ordinary Filipinos. Her work in the film earned her Best Actress honors at both the FAMAS and Gawad Urian Awards in 1977.

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Corazon in Minsa’y Isang Gamu-Gamo (1976)

In this powerful drama, Nora plays Corazon, a nurse with dreams of a better life abroad, only to face a devastating personal tragedy linked to the presence of U.S. military forces in the country. The film serves as a searing critique of post-colonial identity and the complex realities of the American military bases in the Philippines during the 1970s.

Nora’s performance was both deeply personal and politically resonant, culminating in one of her most iconic lines in Philippine film history: “My brother is not a pig. Ang kapatid ko ay tao, hindi baboy damo.”

Ester in Ina Ka ng Anak Mo (1979)

In this emotionally charged family drama, Aunor played Ester, a daughter-in-law navigating a toxic and deeply complicated relationship with her mother-in-law, portrayed by Lolita Rodriguez.

Their intense confrontations became the film’s most memorable moments, culminating in both actresses winning Best Actress at the 1979 Metro Manila Film Festival, a rare and remarkable double win.

Ina Ka ng Anak Mo also marked Nora’s first collaboration with renowned director Lino Brocka, setting the stage for more critically acclaimed projects in the years to come.

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Bona in Bona (1980)

In a powerful subversion of the typical fan-idol dynamic, Nora Aunor portrayed Bona, a poor and devoted fan who sacrifices everything for a struggling action star. Her transformation from a wide-eyed admirer to a tragic, broken woman was executed with raw emotional depth, solidifying Bona as a cult classic in Philippine cinema.

In 2012, the Philippine Educational Theater Association (PETA) staged a contemporary adaptation written by Layeta Bucoy and directed by Socrates “Soxie” Topacio. Eugene Domingo took on the titular role, while EA Guzman played Gino Sanchez, the stage counterpart of the film’s Gardo. In 2024, Bona was digitally restored and screened at the New York Film Festival, reintroducing the film to international audiences.

Elsa in Himala (1982)

Arguably her most legendary role, Nora Aunor’s portrayal of a faith healer cemented its place as one of the iconic roles in Philippine cinema. Nora plays Elsa, a humble barrio girl, who becomes an overnight sensation after claiming to see the Virgin Mary, sparking mass hysteria in a drought-stricken village desperate for hope.

Her performance was anchored by an unforgettable monologue at the film’s climax, widely regarded as one of the most iconic moments in Philippine cinema: “Walang himala! Ang himala ay nasa puso ng tao, nasa puso nating lahat! Tayo ang gumagawa ng mga himala! Tayo ang gumagawa ng mga sumpa at ng mga diyos.”

Directed by Ishmael Bernal, Himala received international acclaim and became a landmark of Filipino film. In 2003, it was adapted into a stage musical by Ricky Lee and Vincent A. de Jesus, further cementing its legacy.

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The story was reimagined once again in 2024 through Isang Himala, a musical film adaptation featured as an official entry in the 2024 Metro Manila Film Festival.

Sylvia in T-Bird at Ako (1982)

T-Bird at Ako featured Nora Aunor as Sylvia, a lesbian lawyer who unexpectedly falls for a fiery showgirl, played by Vilma Santos. Their on-screen chemistry, combined with Nora’s restrained yet emotionally resonant performance, brought depth and nuance to themes of gender and identity.

The film stands out as one of the earliest mainstream portrayals of LGBTQ+ themes in the country, released at a time when censorship was strict and audiences were generally more conservative.

Flor Contemplacion in The Flor Contemplacion Story (1995)

Based on a true story, Nora Aunor portrayed Flor Contemplacion, an overseas Filipino worker (OFW) sentenced to death in Singapore, delivering a performance that powerfully captured the grief, desperation, and injustice experienced by many migrant workers. Her haunting portrayal humanized a national tragedy and sparked widespread public outrage and discourse in the Philippines.

The film earned Nora numerous accolades for her emotionally charged performance as the fallen heroine. It was screened at various international film festivals, most notably at the 19th Cairo International Film Festival, where it won the Golden Pyramid Award for Best Picture, and she received the Princess Pataten Award for Best Actress.

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Shaleha in Thy Womb (2012)

A triumphant return to form, Thy Womb featured Nora Aunor in a quietly powerful performance as Shaleha, a Tausug midwife who selflessly helps bring life into the world despite being unable to bear a child herself. With subtlety and emotional depth, Nora delivered a role marked by dignity, pain, and resilience.

Her performance earned widespread international acclaim, including the Bisato d’Oro for Best Actress, awarded by Premio della Critica Indipendente, a group of independent critics at the 69th Venice International Film Festival. The film itself also received multiple accolades at Venice, including the La Navicella/Venezia Cinema Award and a Special Mention for the P. Nazareno Taddei Award.

Marvel’s ‘Thunderbolts*’ retains top spot in N.America box office

LOS ANGELES — Marvel’s newest superhero film “Thunderbolts*” remained top dog at the North American box office for a second straight weekend, industry watcher Exhibitor Relations said Sunday.

The film, starring Florence Pugh, Sebastian Stan and Julia Louis-Dreyfus, raked in an additional $33 million for the three-day period.

The 55 percent drop from its debut was a “far better hold than recent Marvel adventures,” entertainment news outlet Variety reported.

Seeking to boost interest heading into the second weekend, Marvel revealed that the asterisk in the movie’s name referred to the titular ragtag team of antiheroes becoming the “The New Avengers.”

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The group will also appear in next year’s “Avengers: Doomsday,” which Marvel and parent Disney hope will repeat the epic performance of its predecessors.

The Warner Bros. period vampire thriller “Sinners” also maintained its second place, taking in another $21.1 million for a total domestic haul of $180 million.

Director Ryan Coogler’s first original film, starring Michael B. Jordan, continued to benefit from rave reviews.

“A Minecraft Movie” also held onto its third place position, raking in an additional $8.0 million to bring its domestic haul over $400 million.

The Warner Bros. live-action film starring Jack Black and Jason Mamoa has made over $900 million globally, continuing a trend of highly successful video game adaptations.

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Fourth place went again to Amazon MGM Studios’ “The Accountant 2,” at $6.1 million. Ben Affleck plays a neurodivergent math genius with criminal ties, and Jon Bernthal is his hit man brother.

New release “Clown in a Cornfield” took fifth place with $3.7 million.

“This is a solid opening for an indie horror film, particularly for a micro-budget production,” said David A. Gross of Franchise Entertainment Research.

Rounding out the top 10 were:

“Shadow Force” ($2.0 million)