Hazel Orencio

Ethically conflicted police lieutenant Hermes Papauran continues his struggle to find resolution to a 15-year-old case around a volcanic ash laden landscape and an impenetrable lake. A prequel to When the Waves Are Gone.

Lieutenant Hermes Papauran, one of the best investigators of the Philippines, is at a deep moral crossroad. As a member of the police forces, he is a first-hand witness of the murderous anti-drug campaign that his institution is implementing with dedication. The atrocities are corroding Hermes physically and spiritually, causing him a severe skin disease resulting from anxiety and guilt. As he tries to heal, a dark past haunts him and has eventually come back for a reckoning.

Lieutenant Hermes Papauran, one of the best investigators of the Philippines, is at a deep moral crossroad. As a member of the police forces, he is a first-hand witness of the murderous anti-drug campaign that his institution is implementing with dedication. The atrocities are corroding Hermes physically and spiritually, causing him a severe skin disease resulting from anxiety and guilt. As he tries to heal, a dark past haunts him and has eventually come back for a reckoning.

With the imminent death of his autocratic grandfather, coinciding with the burgeoning oppressive regime of Ferdinand Marcos, Servando Monzon III agonizes on becoming the new feudal lord and capitulating with Marcos’ designs to control the Philippines. He is aware of his clan’s long history of violence; he knows the very violent history of his country; and he foresees a very violent future with the Marcos dictatorship.

Successful ventriloquist Hernando returns home after several years away, with plans to marry his sweetheart and settle down. Heartbroken when things don’t go to plan, Hernando decides he will only communicate with the world through his puppet Ha. The pair accompany a nun, a sex worker and a teenage boy on their way to a remote island where gold has been discovered, a journey that holds fateful consequences.

Successful ventriloquist Hernando returns home after several years away, with plans to marry his sweetheart and settle down. Heartbroken when things don’t go to plan, Hernando decides he will only communicate with the world through his puppet Ha. The pair accompany a nun, a sex worker and a teenage boy on their way to a remote island where gold has been discovered, a journey that holds fateful consequences.

Successful ventriloquist Hernando returns home after several years away, with plans to marry his sweetheart and settle down. Heartbroken when things don’t go to plan, Hernando decides he will only communicate with the world through his puppet Ha. The pair accompany a nun, a sex worker and a teenage boy on their way to a remote island where gold has been discovered, a journey that holds fateful consequences.

Taking leave from their jobs at a gold mine, three workers journey to their home village on foot through the spectacular yet unforgiving wilderness of the mythical island of Hugaw. As time passes and their conversations intensify, buried histories emerge and a sense of psychosis invades the scene. As ever, Lav Diaz’s exquisitely subdued black-and-white images and patient rhythm lend a Brechtian register to the drama; almost always filmed from the same fixed distance, each scene is an immaculate tableau vivant. Behind the film’s folkloric façade, Diaz once again taps into the collective memory of defiant struggles against the tyranny of both contemporary Filipino society and colonial brutality, centred on the timeless image of men walking – one of the key traits of Pan.

Taking leave from their jobs at a gold mine, three workers journey to their home village on foot through the spectacular yet unforgiving wilderness of the mythical island of Hugaw. As time passes and their conversations intensify, buried histories emerge and a sense of psychosis invades the scene. As ever, Lav Diaz’s exquisitely subdued black-and-white images and patient rhythm lend a Brechtian register to the drama; almost always filmed from the same fixed distance, each scene is an immaculate tableau vivant. Behind the film’s folkloric façade, Diaz once again taps into the collective memory of defiant struggles against the tyranny of both contemporary Filipino society and colonial brutality, centred on the timeless image of men walking – one of the key traits of Pan.

Taking leave from their jobs at a gold mine, three workers journey to their home village on foot through the spectacular yet unforgiving wilderness of the mythical island of Hugaw. As time passes and their conversations intensify, buried histories emerge and a sense of psychosis invades the scene. As ever, Lav Diaz’s exquisitely subdued black-and-white images and patient rhythm lend a Brechtian register to the drama; almost always filmed from the same fixed distance, each scene is an immaculate tableau vivant. Behind the film’s folkloric façade, Diaz once again taps into the collective memory of defiant struggles against the tyranny of both contemporary Filipino society and colonial brutality, centred on the timeless image of men walking – one of the key traits of Pan.

To this day, Ishmael Bernal's movie Himala is still in our town, in our world. This will be reflected in the broader perspective of the majority, of the surrounding events. Beliefs still lie in the truth. Consciousness is still dominant at the level of illusion. The naive, savage, cruel, and selfish politics still prevail.

It is the year 2034 AD and Southeast Asia has been in the dark for the last three years, literally, because the sun hasn’t shone as a result of massive volcanic eruptions at the Celebes Sea in 2031. Madmen control countries, communities, enclaves and bubble cities. Cataclysmic epidemics razed over the continent. Millions have died and millions have left.

It is the year 2034 AD and Southeast Asia has been in the dark for the last three years, literally, because the sun hasn’t shone as a result of massive volcanic eruptions at the Celebes Sea in 2031. Madmen control countries, communities, enclaves and bubble cities. Cataclysmic epidemics razed over the continent. Millions have died and millions have left.

It is the year 2034 AD and Southeast Asia has been in the dark for the last three years, literally, because the sun hasn’t shone as a result of massive volcanic eruptions at the Celebes Sea in 2031. Madmen control countries, communities, enclaves and bubble cities. Cataclysmic epidemics razed over the continent. Millions have died and millions have left.

In the late 70s, a gang of militias under the control of the military, terrorizes a remote village in the Philippines. The poet/teacher/activist, Hugo Haniway, decides to find out the truth about the disappearance of his wife. A love story set in the darkest period of Philippine history, the Marcos Dictatorship. Based on real events and real characters.

In the year 2050, the Philippines braces for the coming of the fiercest storm ever to hit the country. And as the wind and waters start to rage, poets wander the streets.

Andrés Bonifacio is celebrated as the father of the Philippines Revolution against Spanish colonial rule. This eight-hour epic examines this myth, undertaking an expedition into history through various interwoven narrative threads, held together by an exploration of the individual’s role in history.

The Philippines is visited by an average of 20~28 strong typhoons and storms every year. It is the most storm-battered country in the world. Last year, Typhoon Yolanda (Haiyan), considered the strongest storm in history, struck the Philipines, leaving in its path apocalyptic devastation.

The Philippines, 1972. Mysterious things are happening in a remote barrio. Wails are heard from the forest, cows are hacked to death, a man is found bleeding to death at the crossroad and houses are burned. Ferdinand E. Marcos announces Proclamation No. 1081 putting the entire country under Martial Law.

The Philippines, 1972. Mysterious things are happening in a remote barrio. Wails are heard from the forest, cows are hacked to death, a man is found bleeding to death at the crossroad and houses are burned. Ferdinand E. Marcos announces Proclamation No. 1081 putting the entire country under Martial Law.

Andrés Bonifacio, the freedom fighter known as the father of the Philippine revolution, was executed by rival revolutionaries in 1897. His wife, Gregoria de Jesus, searched for his body in the mountains for 30 days. It was never found.

A man is wrongly jailed for murder while the real killer roams free. The murderer is an intellectual frustrated with his country’s never-ending cycle of betrayal and apathy. The convict is a simple man who finds life in prison more tolerable, when something mysterious and strange starts happening to him.

A man is wrongly jailed for murder while the real killer roams free. The murderer is an intellectual frustrated with his country’s never-ending cycle of betrayal and apathy. The convict is a simple man who finds life in prison more tolerable, when something mysterious and strange starts happening to him.

Six single women and a priest's lives intersect when a bingo marathon is launched in their church for the barangay fiesta, turning expectations and relationships upside down and inside out.

A short film made for "Venezia 70 - Future Reloaded."

Erwin Romulo, the late Alexis Tioseco’s best friend, recalls the events after the critic and his girlfriend’s untimely death in their home in Quezon City. Diaz makes use of one long take to allow Romulo an uninterrupted narration of the events. The pain of recalling is palpable.

Erwin Romulo, the late Alexis Tioseco’s best friend, recalls the events after the critic and his girlfriend’s untimely death in their home in Quezon City. Diaz makes use of one long take to allow Romulo an uninterrupted narration of the events. The pain of recalling is palpable.

Erwin Romulo, the late Alexis Tioseco’s best friend, recalls the events after the critic and his girlfriend’s untimely death in their home in Quezon City. Diaz makes use of one long take to allow Romulo an uninterrupted narration of the events. The pain of recalling is palpable.

In a rural area, a father forces his daughter into prostitution. Somewhere else, two men embark on a quest for a buried treasure.

An artist struggles to finish his work while a storyline about a cult plays in his head.

Deliberately structured and less beholden to its narrative, the film is told in three parts, with each part pertaining to each of the three visits of the time-travelling visitor from when the country was fighting for independence from Spain.

Continuing the tradition of national artist Ishmael Bernal's benchmark film Working Girls after 25 years, Working Girls of 2010 depicts the role of women in the new millennium. Seven women of different backgrounds, stories and personalities entwined in a colorful story of family, love and life.

The film begins in Frankfurt, where Lailani, now 65, awaits a plane to Manila. She is returning home to the Philippines for the first time in 30 years. En route home, she delays her return by stopping over in Singapore. Her interactions with her fellow Filipinos help her reflect on the nature of her loss, the cycle of sacrifice and longing that marks them all. Gripped by the fear of returning home to a life she has left behind but is still intricately connected to, she finds moments of enchantment among other lost souls. They have created their ways of living with disenchantment through a Dreamtime that shelters them from the storms of trauma.