Editing
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.
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.
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.
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).
Mina, a pretty and intelligent 18-year-old student in a town, falls victim to a viral sex video the circulated in her school. This forced her mother Rita, an overseas Filipino worker in the Middle East, to go on an emergency leave to take care of her only daughter who was severely affected by the incident. In the following days, strange things start to happen to Mina at home and at school. Her nose bleeds endlessly, a python appears in their home, and she sees the spirits of her ancestors come to their house. A healer, an old woman from the next barrio, is called to treat Mina’s strange afflictions. The old woman surmises that Mina’s ancestors had come to tell her of an important message but Mina is stubborn and continues to ignore the signs communicated.
A filmmaker revisits the town of Tayug, Pangasinan in preparation for a new feature film she is making about the folk hero Pedro Calosa and the Tayug Uprising of 1931. As she revisits the actual sites in Tayug where the infamous uprising had taken place, she imagines scenes in her new film about the subject. As she goes deeper in her research at Tayug, she uncovers the memories of the townspeople about Pedro Calosa and the Tayug Uprising of 1931.
