Che Villanueva

It is 1974, and in the Cold War paranoia of East and West Germany, it can be dangerous to know too much. But time is running out for Sophie Zimmermann. She is being hunted and the only way to survive is to find out the identity of The Man On The Other Side! In the style of classic 70s spy thrillers like Tinker Tailor Soldier Spy, The Ipcress File and Day Of The Jackal, The Man On The Other Side transports you back to a world of double crosses, of dark deeds in grey Eastern European cities and of danger lurking behind every kiss.

Filipinas, 1972. Coisas misteriosas estão acontecendo em um bairro remoto, como barulhos estranhos vindo da floresta, as vacas sendo agredidas, um homem encontrando sangrando até morrer e casas sendo queimadas. Simultaneamente, Ferdinand Marcos anuncia o decreto nº 1081, colocando todo o arquipélago filipino sob lei marcial.

Jungle Love follows a handful of people who have disappeared into the jungle: a woman who has kidnapped her sister's child; an urbane couple and their indigenous guide; a bored and horny platoon; and a nameless tribe. Disappearance has another meaning in Sanchez’s native Mindanao, where a decades-old conflict between the government and secessionists fighting for an Islamic state has made the region infamous for its kidnappings. Sanchez took inspiration from an incident in which a friend living abroad visited an exhibition, and found a photo of him labeled as one of the disappeared. Jungle Love is permeated with this sense of the uncanny, as narratives and identities fracture and fuse into one another in the reckless, lonely places people go to escape themselves.

"Mapang-akit" is an offshoot of a documentary project made with an Icelandic filmmaker and uses the outtakes from the Hudas Hudas festival in Antique, where a community bonds over a large effigy of Judas Iscariot during Holy Week. Amidst it is a found story of a man who returns home to his death after pursuing a woman in a neighboring village.

Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”