Islabodan

About a woman who changes personality to please the man she's with, and about the man who brings her sexuality to full bloom.

A retired police sergeant has an unnatural stranglehold over his wife and daughter. His claustrophobically enclosed world is threatened when his daughter Mila finds herself pregnant and was forced to marry Noel. He attempts to extend his influence over his son-in-law, who resists; there is a confrontation.

Exposé of two news photographers covering the People's Revolution in the Philippines.

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.

It is the time of El Niño, a season ruled by superstition and fear. The rain is long in coming, the ground has cracked up dry. The ricestalks are thin and sickly. Villagers go hungry. And a boy dies from a snakebite. The adults splinter. Some pray. Others join a cult to appease earth spirits and wait for the ada, the ricefield spirit goddess of bountiful harvest who dances naked on moonlit nights and signals the need for a virgin’s sacrifice. There are fence sitters, equally pro-church and pro-cult. A landlord’s steward enforces his master’s usury on hapless farmers. A self-righteous priest says rain must first be deserved. Two young women fight for the right to do with their bodies as they please. A bastard boy and a blind girl come of age. Yesterday, they were children.

An environmentally conscious movie about Butanding, or whale shark.

A macho dad learns to accept the real identity of his gay son before it gets too late.

Desiree and Gilbert are in love but no one seems to believe it. Desiree's friends thinks Gilbert is just using her. Gilbert is studying to become a doctor and Desiree is financing his tuition fee and daily expenses. Gilbert's family thinks Desiree is interested in the family fortune. Gilbert is a rich kid but he left home when his girlfriend committed suicide after being insulted by his mother Gracia.

A famous dress designer who adopted the illegitimate daughter of one of her models. The little girl became her only joy after she turned into a recluse when she lost her fiance. Unknown to her that was only the beginning of her troubles with Dina. Dina returned from time to time with threats of blackmail kidnapping and other evil deeds.

Orphan Carding befriends Army Captain Samuel Corazon, who’s stationed in his town to root out the remaining Huk guerrillas. At the dance hall, Corazon woos dancer Lauriana, and they soon move in together. The two become sort of surrogate parents for the orphan Carding, with Corazon teaching him the ways of men. But the soldier has a dark side, and Carding becomes witness to the violence occurring in their home, and a heinous act committed by the soldier on his common-law wife.

A woman whose whole life is her art, but when she loses it she goes into a self-exile, only to be, hopefully, reinvigorated by a young boy daring to bring it all back.

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.

Babae...Ngayon at Kailanman is a film adaptation of three Filipino short story masterpieces: Nick Joaquin's "May Day Eve", Amador Daguio's "Wedding Dance" and Wilfrido Nollega's "Juego de Prenda.

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.

Due to a delayed flight a group of German flight passengers have to wait in the hall of the airport of Manila. The crowd is quite mixed, ranging from an cultivated east German teacher couple up to sleazy sex tourists. As the waiting prolongs, more and more aggressions and long repressed behaviors shed their way to the surface.