Adjani Arumpac

Porferia, who is 9 months pregnant, and her husband Felix, are abducted by the military and wrongfully accused of insurgency. Porferia's wild imagination and unsinkable hope carry them through the ordeal of torture, leading to their eventual escape.

A filmmaker explores why women are at the forefront of documentary filmmaking in the Philippines by chronicling their narratives of struggle and victories as they navigate the masculine filmmaking industry. Throughout the film, she discovers her own reflexivity as a filmmaker but most importantly, as a woman.

Lockdowns and quarantines did not deter sixteen filmmakers from Luzon, Visayas, Mindanao, and the National Capital Region from chronicling their struggles and triumphs during the pandemic time in the way they know best: through film. ECQ: Eksena Cinema Quarantine (COVID-19 Filmmakers' Diaries), a project under the National Commission for Culture and the Arts, National Committee on Cinema (NCCA-NCC), in cooperation with University of St. La Salle Artists' Hub, features sixteen filmmakers namely Adjani Arumpac, Hiyas Baldemor Bagabaldo, Arbi Barbarona, Glenn Barit, Carlo Enciso Catu, Zurich Chan, Arden Rod Condez, Kristian Sendon Cordero, Khavn, Keith Deligero, Kyle Fermindoza, Bagane Fiola, Mark L. Garcia, Julienne Ilagan, Pam Miras, and Guillermo Ocampo.

Just as she was about to give up on her pursuit of companionship, traumatized, nine-year-old Sol meets and befriends a forest spirit on her tenth birthday, making way for an exploration of healing, identity, and desire in the remaining days before she enters a new school.

Mother Mameng delves deep into the character of a woman who has experienced extreme poverty and domestic violence and rose from from it all to become the beloved personality, well-known to the Philippine mass movement.

Walai prods on the memories of four Muslim women who once lived in the infamous White House in Cotabato City. The documentary seeks narratives in "places...we tend to feel without history." It traces the past through the women's experience of what has happened inside the wrecked home-nostalgia and fear, loss and love, and birth and death.

Through her own family's memories of struggle, Adjani unravels the story of war-torn Southern Philippines as an endless attempt at survival and adaptation to state policies that disregard the most basic concept of home.

Requiem for M is an experimental short documentary in the aftermath of the Maguindanao massacre in which multiple journalists were slain. Dalena captured scenes from the funerals and played this in reverse, in the wistful yearning to turn back time to before the tragedy occurred.

Count is a short essay film that plays with the idea of internalized historical misalignment. It is a probing into the unseen discrepancy that has exponentially grown throughout the centuries. It starts with the author's sons, as they start their online distance learning, in the context of a pandemic raging in the midst of a Drug War, both with fatalities miscounted and uncounted.