Ang Babaeng Humayo

Opon + Pasil + Tres + Echavez + Naval + Ormoc + Valencia. It’s Saturday and it’s black.

A erotic drama chronicles the amorous exploits of a winsome young bride. When her affluent but crippled spouse fails to fulfill her physical desires, she seeks sexual satisfaction outside her marriage by taking a lover. Sunshine Cruz delivers a standout performance in a supporting role.

On a particularly nondescript weekend afternoon, Edison must deal with his exasperated mother, who is bearing down on him like a force of nature; the looming deadline of a paper on the philosophical writings of Immanuel Kant; and a persistent, insidious force that aims to destroy the tranquility of his existence.

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.

Faced with Philippine President Rodrigo Duterte’s bloody murders and brazen lies, ethically conflicted police lieutenant Hermes Papauran continues his struggle to find a resolution to a 15-year-old case around a volcanic ash-laden landscape and an impenetrable lake.

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.

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.