Phantosmia

Kagadanan sa Banwaan Ning mga Engkanto (English: Death in the Land of Encantos) is a 2007 Filipino television miniseries created and written by Lav Diaz. The five-episode drama would be edited into a nine-hour feature released in 2013. Philippine poet Benjamin Agusan hearkens back to his village Padang after seven years in Europe. Horrified to discover that the community has been buried under landslides, he wanders the countryside, reconnecting with friends, lovers, and family whose lives teeter on the brink of destruction.

Galvez seeking for justice.

A poet hearkens back to his Philippine village after years abroad in Europe. Horrified to discover that the community has been buried under landslides, he wanders the countryside, reconnecting with friends, lovers, and family whose lives teeter on the brink of destruction.

The start of the film sets the tone. A tortured man looks as if he will castrate himself. Later he staggers aimlessly and bleeding heavily through the streets of a town that is just waking up. In parallel, the film shows the marital discussions of a couple, with the husband hiding behind the camera.

A wandering peddler suddenly decides to separates from his group of travellers, his reasons are unknown and the dangers will be many.

The Philippines, 1972. Mysterious things are happening in a remote barrio. Wails are heard from the forest, cows are hacked to death, a man is found bleeding to death at the crossroad, and houses are burned. Ferdinand E. Marcos announces Proclamation No. 1081, putting the entire country under Martial Law.

Spanning from 1971 to 1987, in rural areas under the Marcos regime, a poor farming family struggle to overcome challenges brought on by corruption and greed for power.

An embittered law student commits a brutal double murder; a family man takes the fall and is forced to take a harsh sentence; and a mother and her two children wander the countryside in search of some kind of redemption.

Three people start a strange therapy to escape their agonies. Each attempts to process those they lost during the Marcos dictatorship while examining their own grief.

After three decades' wrongful incarceration for murder, a woman discovers that her friend and fellow inmate committed the murder of which she was accused. This leads to her release and subsequent discovery of the man who framed her — her ruling class ex-lover.

At the dawn of the modern era, Portuguese explorer Ferdinand Magellan leads an expedition under the Spanish crown in search of the first westward route to the Spice Islands. He embarks on a perilous journey across the uncharted Pacific, where his fleet faces starvation, mutiny, and the psychological toll of endless seas. Upon reaching the shores of Cebu, Magellan is pulled into a fatal conflict with the natives by his drive to spread Catholicism, culminating in his tragic doom.

A tribute to filmmakers and National Artists Lino Brocka and Ishmael Bernal. In the "Day" segment, Piolo Pacual portrays the role of William, a drug addict who tries to rebuild his sense of self and reconnect with the people around him. For the "Night" segment, Pascual portrays the role of Philip, who works as a bodyguard for a mayor's son. The bodyguard believes that his boss considers him as part of the family but after a shooting incident, he realizes his real worth to his boss. As he struggles to hide, he is slowly consumed by the claws of darkness lurking the city.

Madmen control Manila in 2034 after massive volcanic eruptions have plunged Southeast Asia into darkness.

In late 1970s Philippines, a military-controlled militia oppresses a remote village, spreading terror both physical and psychological. Fearless young doctor Lorena opens a clinic for the poor but disappears without a trace. Her activist poet husband sets out to find her.

First begun in 2006, WAKE (SUBIC) completes the documentary diptych, FOR EXAMPLE, THE PHILIPPINES, the first part of which, VAPOR TRAIL (CLARK) was released in 2010. Collectively this nine-hour essay explores circumstances of toxic contamination around the former US military bases in the Philippines as the locus for a meditation on historical amnesia, colonial privilege, and the consequences of unchecked militarism. Interweaving both cinéma-vérité and interview footage of Filipino victims and their families, environmental spokespersons, and community activists, along with early photographic material pertaining to the Philippine-American War, partisan songs, historical texts, and landscape photography, both films are an attempt to construct a work capable of rendering some measure of this human and environmental tragedy and the complexities of its remedy.

In a sophisticated near perfect society, citizens live with paper bags on heads to dissolve differences. Tensions rise when the whispers of a mythical land without the bags start to float and a fresh council member sparks an accidental revolution.