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Within the span of 55 years that he worked in Philippine movies, Accion was cinematographer to the best film directors in the industry, including Gregorio Fernandez, Eddie Romero, Lamberto V. He worked on such films as No Place To Hide, 1955; Kundiman ng Lahi (Kundiman of the Race) and Surrender, Hell, 1959; Blackburn’s Guerillas and Cry Freedom, 1960; Tagumpay ng Mahirap (The Diosdado Macapagal Story), 1964; Ibulong Mo Sa Hangin (Whisper in the Wind), 1967; Mariposang Dagat (Sea Butterfly), 1977; Sino’ng Pipigil Sa Pagpatak ng Ulan? Accion was elevated to the Filipino Academy of Movie Arts and Sciences (FAMAS) Hall of Fame for his pictures: Anak Dalita (The Ruins), 1956; Badjao and Walang Sugat (Not Wounded), 1957; El Filibusterismo (Subversion), 1962; and Ang Daigdig ng mga Api (World of the Oppressed), 1965.
From the Asian Film Festival, he received the best cinematography award twice: the first time for Anak Dalita when it swept all the awards including best picture, and the second time for Badjao, when his work was singled out as best photography in black and white.
After learning all that he could about film in London, Abaya returned to the Philippines to set up the family’s own movie production outfit, Cine Filipinas, Inc.
Abaya and Catalina Roxas, he is married to movie director Marilou Diaz-Abaya with whom he has two children.His other movies that received nominations in the best- cinematography category are: Tanikala and Working Girls, Urian; Brutal, Moral, and Desire, MMFF; The Graduates, Pinulot Ka Lang sa Lupa (You Were Merely Plucked From the Earth), and Nagbabagang Luha (Blazing Tears), Film Academy of the Philippines (FAP) Awards; and Hari sa Hari, Lahi sa Lahi (King to King, Race to Race), Star Awards. To him have been attributed such awesome and wondrous cinematic effects as human princes turning into figures of stone and vice versa in Ibong Adarna (Adarna Bird), 1941; the fantastic floating castle in Prinsesang Basahan (The Princess in Rags), 1949; the biblical Red Sea parting at the stroke of a cane in Tungkod ni Moises (Moses’ Cane), 1952; handsome Jaime de la Rosa transformed into a horrifying bat creature in Taong Paniki (Bat Man), 1952; Bayani Casimiro dancing upside down from ceiling-to-wall-to-floor in Big Shot, 1956; and the terrifying giant reptile monster sowing havoc in Tuko Sa Madre Kakaw (Gecko at Madre Cacao), 1959. Francisco aka Botong Francisco for the production design of some films that he directed, among them: Haring Kobra (King Cobra), 1951, where a mythical Balinese country near the Philippines was created; and Higit sa Korona (Above the Crown), 1956, where the illusion of ancient Egypt provided the backdrop for the longest swordfight in local movie history. He finished high school at the University of Manila.The other films Abelardo directed include: Malikmata (Phantasm) and Engkantada (Enchantress), 1948; El Diablo (The Devil), 1949; Mutya ng Pasig (Muse of Pasig), 1950; Ang Nuno Sa Punso (The Old Man on the Anthill) and Doctor X, 1950; Shalimar, 1951; Krus na Bakal (Iron Cross), 1954; Zarex, 1958; and Miranda and Lastik Man, 1966. He was married to Josette Collin Macalalag, sister of actor Mario Montenegro, with whom he had six children.He became a full-fledged cinematographer in Kandelerong Pilak (Silver Candlesticks), 1954, which won for Lilia Dizon the best actress award in the Cambodian Film Festival. As actor, Accion appeared in films like Ang Lalaki (The Male), 1947; Sierra Madre, 1948; Tambol Mayor (Big Drum) and Kandidato (Candidate), 1949; In Despair, 1950; and Donato, 1954.He was also the cinematographer of Malvarosa, 1958, which won for Rebecca del Rio the best supporting actress award in the 5th Asian Film Festival held in Manila. In his later years, he turned to movie directing and made Kung Kaya Mo, Kaya Ko Rin (If You Can Do It, I Can Do It, Too), 1979, with Christopher de Leon, and Coed, 1979, with Vilma Santos and Jay Ilagan.
In March 1988, it set up a theater company which produced a play, Manly-linlang (Filipino adaptation of Norman, Is That You? The AWF is recognized by the Film Academy of the Philippines as an educational entity for its actors and is a member of the FAP Board of Governors. Her other movies include Mapuputing Kamay (The White Hands), Anak ng Espada (The Child of the Sword), Munting Koronel (Little Colonel), and Kerubin (Cherub). She married actor Miguel Anzures and together they appeared in several movies before the war. Her other prewar movies are: Mapait na Lihim (Bitter Secret), 1938, with Rosario Moreno; Pasang Krus (Bearing the Cross), 1939, with Corazon Noble and Rogelio de la Rosa; Gabay ng Magulang (A Parent’s Guide), 1939, with Yolanda Marquez; Walang Tahanan (No Place to Call Home), 1939, with Carlos Padilla Sr.; and Takip-Silim (Twilight), 1939, the picture that launched the famous love team of Carmen Rosales and Rogelio de la Rosa. She was part of the cast of Sebya, Mahal Kita (Sebya, I Love You), which started as a radio show over DZXL and was later made into a movie by LVN in 1957. She married actor Michael de Mesa with whom she has three sons. Alajar was only eight years old when she auditioned for Lea Productions ’ Kaibigan Ko ang Santo Niño (The Holy Infant is My Friend), 1967. He performed at the Orient Theater together with Pilita and Dolphy, among others, in 1945. and Rolinda Alcazaren, the two brothers finished elementary and high school at the Don Bosco Technical College.