Is Neorealism style similar to the films of Brillante Mendoza and Adolf Alix?

Before tackling the question about the similarity there is one thing we have to know on what is Neo-realism? According to my research on the web it says that neo-realism started after the 2^nd world war. It says that neo-realism shot in places without sets to lower the cost of the filmmaking it also gives the impact of reality instead of fantasy. Another is that the directors of the Italian neo-realism don’t get a professional actors and actresses instead they shoot with real non-professional acting people for their movies which show also reality. And last they shoot anywhere no primary location in mind. This happened because after the world war people got poor.( ref: http://suite101.com/article/what-is-italian-neo-realism-cinema-of-the-1940s-and-1950s-a264084 and http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Neorealism-HISTORICAL-ORIGINS-OF-ITALIAN-NEOREALISM.html)

Going back to the topic, I was supposed to comment that the movies of Brillante Mendoza and Adolf Alix were both not similar to Neo-realism for the fact that they both use some professional actors and actresses. Watching some of Brillante’s movies like Lola, Masahista and Kinatay I saw familiar faces who are known by the people. And same as Adolf Alix’s Kadin, Tambolista and Nars they also have famous professional actors. But then I read in an article about neo-realism that when the directors take a professional actors in the movie the actors as part of the real people instead the people being the professsional’s extras only.

As I watched both director’s movies most of it was created by Brillante Mendoza that I saw which shows a close similarity  to neo-realism is the Serbis  because the location didn’t have a set and no specific locations only one place, and the professional actors were merged together with real non-professional actors.

They both are closely similar to the neo-realism and not as a whole.