Some context: The Principalia or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the gobernadorcillo (who had functions similar to a town mayor), and the cabezas de barangay (heads of the barangays) who governed the districts. The distinction or status of being part of the principalia was a hereditary right. However, it could also be acquired, as attested by the royal decree of 20 December 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, Jose de la Concha). This distinguished upper class was exempted from tribute (tax) to the Spanish crown during the colonial period.
From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay and co-opted the traditional indigenous princes and their nobles, thereby ruling indirectly. The barangays in some coastal places in Panay, Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these pre-colonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest.  The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men.  Some of these principalities and lordships have remained, even until the present, in unHispanicized  and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao.
What were the pre-colonial princibalities?
A: From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay

Some context: Once is a 2007 Irish romantic musical drama film written and directed by John Carney. The film stars Glen Hansard and Marketa Irglova as two struggling musicians in Dublin, Ireland. Hansard and Irglova had previously performed music as the Swell Season, and composed and performed the film's original songs. Once spent years in development with the Irish Film Board and was made for a budget of EUR112,000.
Once was met with extremely positive reviews from critics. Upon its March 2007 release in Ireland, RTE's Caroline Hennessy gave the film 4 out of 5 stars and termed it "an unexpected treasure". About the acting, this Irish reviewer commented, "Once has wonderfully natural performances from the two leads. Although musicians first and actors second, they acquit themselves well in both areas. Irglova, a largely unknown quantity alongside the well-known and either loved or loathed Hansard, is luminous." Michael Dwyer of The Irish Times gave the film the same rating, calling it "irresistibly appealing" and noting that "Carney makes the point - without ever labouring it - that his protagonists are living in a changing city where the economic boom has passed them by. His keen eye for authentic locations is ... evident".  In May, on Ebert & Roeper, both Richard Roeper and guest critic Michael Phillips of the Chicago Tribune gave enthusiastic reviews. Phillips called it, "the most charming thing I've seen all year", "the Brief Encounter for the 21st century", his favorite music film since 1984's Stop Making Sense and said, "It may well be the best music film of our generation". Roeper referred to the film's recording studio scene as "more inspirational and uplifting than almost any number of Dreamgirls or Chicago or any of those multi-zillion dollar musical showstopping films. In its own way, it will blow you away." Once won very high marks from U.S. critics; it is rated 97% "fresh" by the film review aggregation site Rotten Tomatoes and scored a grade of 88 ("universal acclaim") according to Metacritic.  In late 2007, Amy Simmons of Time Out London wrote, "Carney's highly charged, urban mise-en-scene with its blinking street lamps, vacant shops and dishevelled bed-sits provides ample poetic backdrop for the film's lengthy tracking shots, epitomised in a sequence where the Girl walks to the corner shop in pyjamas and slippers while listening to one of the Guy's songs on her personal stereo. With outstanding performances from Hansard and new-comer Irglova, Carney has created a sublime, visual album of unassuming and self-assured eloquence." The Telegraph's Sukhdev Sandhu said, "Not since Before Sunset has a romantic film managed to be as touching, funny or as hard to forget as Once. Like Before Sunset, it never outstays its welcome, climaxing on a note of rare charm and unexpectedness."  The film appeared on many North American critics' top ten lists of the best films of 2007:  In 2008, the film placed third on Entertainment Weekly's "25 Best Romantic Movies of the Past 25 Years".
Was it popular
A:
The film appeared on many North American critics' top ten lists of the best films of 2007: