Yam Laranas
A wife who just had a miscarriage finds out that her husband is having an affair with a high-end escort. She turns into prostitution and will take her revenge on her...
A young woman is stuck in the morgue - on her first day - working as an assistant to a pathologist when the dead begin to manifest signs of resurrection.
A young woman is found unconscious in a city street - claims to be another person who was brutally murdered two months earlier - escapes from a psychiatric hospital in order to prove her identity and find the truth about her life, her death, and her murderer.
After twenty years, local police captures the murderer of the older brother of a young boy. Now a doctor, he must go back to his old town and face the murderers himself. He then discovers that the murderers are Aswangs (folkloric Filipino vampire-like creatures) and they pose a deadly threat not only to him but also for the entire town.
After moving into his new digs a ratty apartment in a decrepit building Marvin senses that something is amiss. Every night, domestic violence occurs at the home of his neighbors: an alcoholic cop, his wife, Anna, and their daughter, Lara. When bloody apparitions of Anna and Lara flash before Marvin's eyes, he begins to question his sanity in this atmospheric horror film.
A bachelor dreams of settling down, while a bored postal worker wishes for a man.
Isabel and Clara are two childhood friends separated by fate. Isabel is a naive provincial lass who works as an indigenous fabric weaver while Clara is the liberated city girl. Clara has gone wild after her mother runs off with another man. The two meet after years of separation when Clara returns to the barrio to visit her father, Roman. But their cultural difference further separates them as Lando, Isabel's boyfriend, enters into the picture. Lando, frustrated with Isabel's conservatism and idealism, turns his attention to Clara, which irked Isabel. Isabel, in turn, seduces Clara's father.
Sarah (Joyce) is not happy about the idea of her mother Vivian (Elizabeth) getting married to Michael (Julio Diaz). But when she confronts her and Vivian describes how happy she is, Sarah eventually gives her consent. Sarah is hesitant about Michael though. She feels that Michael desires her but is helpless because he has Vivian's trust that Vivian even goes out of her way to the two comfortable with each other. All these Sarah confides to her ' friend' Nick (Jay M analo) with whom she has a relationship which her mother disapproves of. Ironic but Nick also happens to be a mechanic at Michael's shop and is at the same seeing Becky (Rica). What Michael witnesses one fateful night turns out to be a revelation which eventually decides their fate
A historian travels through time from the swampland that one day turned into the squalor that it has become in contemporary time.
Based on a painting by Rembrandt, “The Sacrifice of Isaac,” the film is a meditation on the complex relations between fathers and sons. In two parallel stories, a son’s desire to be free is shown as he struggles from his father’s oppressive domination. This is shown on the one hand by a boy who watches over his father in his sickbed wishing to free himself from his father’s domineering presence; and on the other, a biblical Isaac who frees himself from Abraham’s intent to kill his own son.
A documentary film, which focuses on the subject of women’s movement in the Philippines. Myth and legend overlap with history and politics as the women’s struggle is laid to bear in the individual stories and achievements of those featured in the film. The fragmented mosaic of voices and scenes allow for a plurality of views and opinions to account for the multifaceted and complex nature of Filipinas. From poetry to dance, politics to poetry – women chart their own lives in the auspicious event of change happening with the ascent of a woman to the country’s pinnacle of power.
This avant-garde, associative collage equates the system’s relationship to Filipino citizens as a marriage. But instead of a wedding full of majestic gestures, we witness a tyrannical system led by a conductor-like figure representing colonial domination and a military regime. The work, which was created under German cinematographer Christoph Janetzko's direction, borrows on archived records from such classic Filipino documentary filmmakers as Nick Deocampo and Ricky Orellana.
