Director
In Age of Blight, 12 Asian filmmakers capture and imagine life under the pandemic, from the hospital corridors of Marawi to protest rallies in the streets of Bangkok. The film mirrors light amidst the chaos and darkness, life in the face of death. Participating filmmakers are Mervine Aquino (Philippines), Bagane Fiola (Philippines), Daniel Rudi Haryanto (Indonesia), Hassanodden Hashim (Philippines), Gladys Ng (Singapore), Nontawat Numbenchapol (Thailand), Carla Pulido Ocampo (Philippines), Edmund Telmo (Philippines), Mark Lester Valle (Philippines), Ligaya Villablanca (Philippines), Takayuki Yoshida (Japan), and Abdul Zainidi (Brunei). Edited and assembled by John Torres (Philippines).
Producer
A 1950's mestiza star–trapped inside a television that fell from the sky–dreams up a romantic romp on the rice terraces, with a Bontok Igorot man who does not know how to kiss.
Director of Photography
A 1950's mestiza star–trapped inside a television that fell from the sky–dreams up a romantic romp on the rice terraces, with a Bontok Igorot man who does not know how to kiss.
Still Photographer
A musical tale about two impoverished sisters' anguish over whether or not to sell the final masterpiece of their recluse father days before the second world war, in Manila.
Director of Photography
Two Filipina victims of sexual abuse search the truth behind the finding of a renowned anthropologist: that merely a few generations ago, the Bontok Igorot lived in what seems an unthinkable utopia—a rape-less society.
Producer
Two Filipina victims of sexual abuse search the truth behind the finding of a renowned anthropologist: that merely a few generations ago, the Bontok Igorot lived in what seems an unthinkable utopia—a rape-less society.
Director
Two Filipina victims of sexual abuse search the truth behind the finding of a renowned anthropologist: that merely a few generations ago, the Bontok Igorot lived in what seems an unthinkable utopia—a rape-less society.
Cinematography
Ang Babae sa Likod ng Mambabatok unravels the multiple layers of the almost mythological figure-living legend, Fang Od, a 92 year old woman who has been called the ‘Last [Traditional] Tattoo Artist of Kalinga.’ The first layer of the story is the one she is most famous for-being a tattoo artist. At her eyes, she continues to exhibit sharpness and precision in the very demanding art and skill of tattooing. The second layer shows her many stories as woman who has reached the age of looking back. She regales us with stories of her many suitors, of her youth, the dancing and the feasts. She also looks back with not just a tinge of regret that she never married nor had children of her own. Her body covered in tattoos is a landscape on its own mirroring the map of a woman who has chosen wittingly or unwittingly a road diverging from convention and in the process became a culture-bearer.
