Laida Lim-Perez

参加作品

Ganito Kami Muli
A documentary produced by Cinema One that sees through fully restored film in the eyes of young filmmakers.
Niño
Production Design
The once illustrious Lopez-Aranda family has faded. Celia, once the darling of Philippine opera, and Gaspar, a distinguished ex-congressman, lacked the shrewdness to maintain their once elegant status. Saddled with a failed marriage, a vanishing career and mounting debt, Celia sold her share of their house to Gaspar, now bedridden. She managed to stay for free in exchange for being Gaspar’s caregiver. Gaspar loves listening to Celia’s arias. This idyllic arrangement is shattered when he slips into a coma. His daughter, Raquel, comes home from the US, determined to sell the house to salvage her own economic woes abroad. This signals Celia’s impending homelessness. With only a few heirlooms to sell, she is at her wits’ end. A fervent believer of the Sto. Nino, she hopes for a miracle. She dresses up her grandson, Antony, in Sto. Nino robes to prepare him for the coming fiesta.
Haplos
Production Design
Al is a balikbayan who returns to his former hometown where his mother is buried. There he meets his childhood friend Cristy who works as a counselor for family planning. Eventually they develop a romantic relationship and end up as a couple. However, a mysterious lady appears one day while Al tends to his mother’s grave. Al falls in love with the stranger and is now torn between her and Cristy.
Five and the Skin
Ivan, a writer living in Manila, walks through the city in search of his past.
Vampire Hookers
Production Design
This horror film revolves around a sinister vampire who sends out a horde of undead beauties to bring back victims for his dinner.
The Boys in Company C
Art Direction
Disheartened by futile combat, appalled by the corruption of their South Vietnamese ally, and constantly endangered by the incompetence of their own company commander, the young men find a possible way out of the war. They are told that if they purposely lose a soccer game against a South Vietnamese team, they can spend the rest of their tour playing exhibition games behind the lines.
As We Were
Production Design
Set at the turn of the 20th century during the Filipino revolution against the Spaniards and, later, the American colonizers, it follows a naive peasant through his leap of faith to become a member of an imagined community.