Mario Magallona

The movie tells the story of a mysterious creature called Dilim, who roams the streets at night and does vigilante work, saving innocent victims by literally devouring the villains. A do-good policeman goes hot on Dilim’s trail, setting off a series of dangerous encounters, bloodbath, and rude awakenings.

Inside the Rabadon house, nobody talks. Lives are kept to themselves; problems are not shared; questions are not entertained. The people living inside it have become used to leaving everything unstirred especially Margaret, the mother of the home. Margaret's desire for cleanliness and order alienates her from her family. She cannot confront the problems of her life and so she confronts dirty dishes, ugly stains, and disorderly appliances. To get to know her family, she snoops around - entering rooms, opening cabinets, reading journals she is not supposed to read. But everything changes when a journal entry of her daughter's makes her unravel, stirring the unstirred life that she has held on to for years.

Just like the seven previous SR&R franchise, this has three episodes-"13/F," about a children's party held in a forbidden floor; "Yaya" is about a naughty kid who discovers that her new nanny is a vampire; and "LRT" is about a freak accident in which people find themselves trapped in an LRT coach, chased by a monster.

It's the story of a young woman, whose husband, is arrested by the soldiers of a Japanese garrison, on the suspicion that he is a guerilla. Dizon pleads her case to the garrison's commander, who sympathizes and lets Yllana go; when the commander's wife dies and leaves their son motherless, Dizon, is hired to feed the baby from her own breast.

A dedicated educator caught in the upheaval and needs of the times imparts the basic rudiments of knowledge while being haunted by personal questions that remain unanswered.

Florencia, the matriarch of the Filipinas family, is in poor health, and Yolanda, the eldest of the Filipinas children, finds herself in the unenviable position of keeping her bickering family from disintegration. As the tension rises, Yolanda seeks refuge in a local church. She is critically injured trying to break up a nasty fight between brothers Emman and Samuel, forcing her family to make a life-changing decision.

Beginning at the break of dawn and ending the next morning, the story, set around a rugged city intersection, follows the path of a marked one-thousand-peso bill as it transfers from one character to another, returning to its originator in the end, blood-tainted. The money leads us to each of the five offbeat characters, all in desperate need of their soul's redemption: a disillusioned tabloid reporter planning to commit suicide in a motel, a nightclub dancer con prostitute who has avowed to give her kid sister a better life, a fallen henchman resurfacing to score big time, a chronic runaway teenage girl held captive as sex slave by a cop, and a long-suffering son bearing a sadomasochistic relationship with his brutish, half-paralyzed father who behaves like a mad dictator in his wheelchair.

Rekados is a magic-realist tragicomedy of three generations of cooks in the slums that own a karinderia. Josefina, the matriarch whose traditional skill in cooking keeps the family alive; Laura, the daughter who prefers cooking to please her customers and the man she desires; and caught in between the two is Pinay, the granddaughter who mimics Kris Aquino to get a basketball player of her own. In their small world of the kitchen that empowers and imprisons them, they cook dishes that symbolize their affection: adobo; kare-kare; dinuguan; and pansit. Each of them brings different flavors as they mix with each other and the men of their desires.

An intimate epic made with uncompromising and austere seriousness that patiently and methodically observes the collapse and hopeful revival of a poor farming clan, meant to symbolize a nation’s history spanning 1971 to 1987.