Jazz in Love tells the story of Jazz, a young man from Davao, Philippines, whose dream wedding is within reach, his German boyfriend has proposed. Because no law allows him to get married in the Philippines, he must fly to Germany and tie the knot there. One of the things that stand in his way is his inability to speak Deutsch. Meanwhile, his parents remain completely unaware of the radical changes that his life is about to undergo.
The first installment in Nick DEOCAMPO's 'Ang Lungsod ng Tao ay Nasa Puso' trilogy, Oliver follows a female impersonator who supports his family by performing in Manila's gay bars. Shot in the final year of Marcos's dictatorship and revolutionary times, it is one of the most compelling illustrations of the fluidity of sexuality, as well as of the power of human agency in times of hardship.
As a personal story about the Filipino experience at the St. Louis World's Fair of 1904, the film unfolds from the perspective of two characters—a Filipino immigrant in America and an lgorot warrior held captive at the Fair. The film dramatically exposes the seminal contours of ethnic identity and experience in America, providing an innovative investigation of history, memory and the spectacle of the 'other' in turn-of-the-century America.
In the early 20th century Philippines, the sounds of war signal the arrival of the Americans. A mother and son flee to the mountains, hoping for a quiet life. One day, the son discovers a wounded woman in the middle of the forest, and decides to bring her home. Years pass. Man, woman and child live in isolation from the growing chaos all over the country. But a coming storm soon threatens their existence, and American troops draw nearer.
A young man searches for Ang Magpakailanman, a book which has the power to grant immortality. This surreal and at times nightmarish work, which Raymond RED shot, wrote, and directed, was made at only 17 years of age.
TAHIMIK's magnum opus is an epic film diary spanning the 1980s, as the filmmaker teamed up with his eldest son to make their own 'spaghetti western' with their 'spaghetti machine'. The decade-long path of the film moves seamlessly from the personal to the political as TAHIMIK's camera documents the events leading from the assassination of Benigno AQUINO to the fall of the Marcoses, all shown through a 'third world projector' salvaged from a junk pile on Navajo land.