Isang Hakbang

Gerry and Rochelle are childhood sweethearts. Although Rochelle wants to settle down, Gerry wants his ambitions fulfilled first. The couple's relationship is threatened by the arrival of their childhood friend Tonette. Tonette seduces Gerry away from Rochelle by giving him a job, an apartment and herself. She agrees to share him with Rochelle at the same time hiring Rochelle as a maid. Things soon come to a head when Rochelle decides to leave Tonette's household after repeated attempts by Tonette's father, Don Teofilo, to defile her.

A young woman recalls how her father (a fallen priest), her mother (a woman with a secret past) and her teenage sister returned with her to live in their ancestral home after the family business failed. She was plagued with mysterious problems of sleepwalking and began a romance with a young man who tried to cure her.

A Filipino teenager is shot to death on the sidewalk of New Jersey, USA. An investigation starts into his death. His family members and friends are interviewed. Along the way, we find out not only more about him but about the community of Filipinos in America in general, including the destructive effect of the drug "shabu" on its youth. The detective who handles the case also has his own personal demons to settle with his violent past.

The title “Kamera Obskura” is a Filipino spelling of the latin “Camera Obscura” which simply means “dark room”. The film’s concept adheres to formalist cinema, where the filmmaker’s thesis is to make a semblance of a vintage film seemingly produced sometime in the late 1920s to early 1930s in the Philippines. The thesis is to conjure up a film from a period that did not really exist in Philippine cinema’s historical cultural heritage as we know it, such as a pseudo-expressionist / experimental Filipino cinema of the silent film era. It is a film within a film. The narrative plays with the idea of a retro-futurist world where a prisoner locked away in a dark chamber for over two decades only sees the reality of the world outside through the small hole in his cell, which projects an image of the city on his wall, the phenomenon of the “camera obscura”.

Every night, Nana Lusing lies on her bed sleepless because she sees a dark figure looming in her room. Who is this shadow? Is this the devil? Her late husband? A manifestation of her anxieties? Or simply a figment of her imagination?

Intoy has had the hots for Doray since they were kids in Kalye Marino, Cavite City, formerly the American Naval Base in Sangley Point. Both marginalized as the long-lasting effect of American abandonment of the said base, Intoy has become Kalye Marino’s best “tahong” caretaker-with-no-angst-about-poverty, while Doray a cheap prostitute-with-no-guilt, tending to her siblings’ needs. Intoy strives to have his own cages of “tahong” so he can have Doray, not for just a night of quickie sex, but forever. But what will he do to when she offers to drop by his hovel-on-stilts to quench his passion, but before it happens Nature has chosen to play a joke on his tahong cage? Will it be goodbye to his tahong business or to his damsel-in-distress and ultimately to Kalye Marino? From Eros S. Atalia’s 2001 Palanca Grand Prize-winning Short Story, Intoy Syokoy ng Kalye Marino is a love tale minus the obligatory romantic sentiments.

Guam, U.S.A. Thursday, November 24, Thanksgiving Day. Alex, a local newspaper photographer, gets into a “green card marriage” with her good friend James, a Guam-born Filipino. Miriam, a former member of the Philippine press and now an established Guam journalist, longs to repair a damaged relationship with her American husband. Ella, a hotel housekeeper for almost 20 years, finds means of sending her 88-year old mother to the Philippines with the uncertainty of coming back. As the island of Guam celebrates this classic American holiday when people count their blessings and give thanks, the lives of the three Filipina immigrants intersect and find themselves at a tug-o-war of sacrifice and significance where they must find their home or must they find it somewhere else.

Circus hijinks surround the barangay of Sta. Maria in the midst of an international murder sensation. Swanie, Sta. Maria’s barangay chair and a distant relative of the killer, tries to gain political points by staging a wake for the criminal-turned-celebrity. Meanwhile in faraway Manila, Joanna, Swanie’s runaway son, navigates his way through labyrinthine bureaucracy, to give a neighbor a proper burial. With these two unrelated deaths, estranged mother and son each bury the dead long shelved in their hearts. Amidst these unspoken family burials, the neighborhoods’ penchant for funeral fiestas, gossip and secrets, bizarre social events and the sheer mix of scandal and inebriation complete the picture of dying the Pinoy way.

Tour guide Berta is having a tough time making ends meet. She’s forced to let her son Omel travel to the big city to take a job at an electronics store. Luis is studying to be a seaman, but can’t seem to pass his exams. His girlfriend Dolores is working as an intern at a resort, and dreams of going abroad as well. Sandra, following a painful event back in Manila, returns to her native Bohol, taking her spoiled son Eric with her.

The film splits itself between two timelines. In 2006, Ada is basing her thesis on a massacre that occurred twenty years prior in a village called Acacia. Her mother Cecilia was part of a fact-finding mission into a massacre, and Ada’s inquiries bring up her history as a member of the NPA. The other timeline traces the relationship of Ka Felix and Ka Jimmy, two rebels who fall in love, despite the movement’s laws against such a pairing.

Teresa (Rustica Carpio) has worked for the Bautista family since she was seventeen. She was the nanny of siblings Stella, Vince and Andre (Jackie Lou Blanco, Bobby Andrews and Ryan Agoncillo), and their mother. The three have all moved abroad in their adulthood, but all reunite back at home with the passing of their mother. With no one left to stay in the country, it is decided that all of their properties will be sold, including the house they grew up in. But they are faced with the problem of what to do with the elderly Teresa, who has no money saved, and little contact with her relatives.

Three stories of love starring Sharon Cuneta. The first, "I Love You, Moo-Moo" (directed by Leroy Salvador), is about a young bride who died on her honeymoon; the second, "Ang Silid" (directed by Lino Brocka) is about an interior decorator who investigates a forbidden room owned by a mysterious woman whose sister was murdered; and the third, "Katumbas ng Kahapon" (directed by Emmanuel Borlaza) follows a young woman torn between her abusive husband and her former lover who returned from the US.

Famous TV commentator Maia Robles finds herself caught between having an affair with a politician and reporting on social issues, especially corruption.

Ariel escaped being run over by a chauffeur-driven car with Cathy and her sister. The movie moved on with the main characters meeting for the second time in the restaurant where Ariel worked as a waiter. She was so smitten she did everything to win him over.

Three friends wait along Dalton Pass every dawn to jump at the back of rice delivery trucks to steal the goods and sell it at the wet market as their means of income. One of them accidentally gets a pack of drugs in one of the trucks they jumped and finds themselves in jeopardy when its owners track them down to retrieve the stash, and gives them a chance to get off the hook by means of taking on a risky mission.

A syndicate old-timer named Ben needs to do one last assignment before the boss he works for grants him his much delayed retirement. Assigned to be his partner is the neophyte Morris, a trigger-happy, sadist who yearns to impress the syndicate boss. For Ben, this last assignment turns out to be a journey of introspection, self-healing and redemption. With this awakening, he takes it upon himself to pull Morris out of the eventual hell-of-a-life he says he has lived as a hitman.

Miguel is an abusive husband to Teresa, a former town-beauty queen. They have an eight-year old son, JR. Their small family lives with Miguel’s parents. The family is shattered by the vicious cycle of domestic abuse. After a night of beating, Teresa, goaded by a friend, seeks TPO (Temporary Protection Order) from the court. TPO is a legal remedy that a woman can avail of under Republic Act 9262 (Violence Against Women and Children Law) to protect her and her child against anyone harming them. Teresa is granted the TPO against Miguel. But in this legal tug-of-war of familial rights, their son ,JR, is ignored. Until, he shows aggression in school.But Miguel’s parents coax Miguel to file for Child Custody.

70-year-old Virginia shares the old ancestral house with Delia, her ever-loyal maid. Delia is marrying her long-time boyfriend, Rene, and tearfully confides to Virginia that she wants to go home to her parents in the province to start a new family life with him. Haunted by a past that Virginia tries to conquer her only son Sonny Boy who disappeared years ago, what follows shows a portrait of a woman and a mother trying to juggle the sad realities of life in a cycle of life and death.

In the picturesque island of Cuyo, Palawan, an illegal Taiwanese fishing vessel docks carrying the fisherman named Muo Sei, a man looking for something or someone with the name Ploning. He has from sunrise to sundown to look for this "Ploning".

Two opposing characters. Two contrasting background. One love story written in the stars. When Andrew's car collides with Anya's truck, his relatively peaceful life is destined to change forever. For Anya is not like any other girl. Downright frank and opinionated, Anya knows when not to give up. Despite their initial antagonism, Andrew discovers that beneath Anya's tenacious front is a sweet, spirited woman who knows how to enjoy life. And through Anya, Andrew begins to shed off his rigid stance. But before romance could bloom between them, Andrew is set to marry someone else...