Khavn’s new film, ‘Makamisa: Phantasm of Revenge,’ about the fragments of Jose Rizal’s work, is shot on expired film. It’s an acknowledgment of the faded, collective memory that plagues pre-war Filipino film history.

 Across genres ranging from heartfelt drama to biting satire, the longing for acceptance, and the weight of class struggles, these local shorts continue to prove that QCinema is a lighthouse for talent and razor-sharp reflections of the national condition.

‘Simon of the Mountain’ should be an interesting film, given that its subject is rarely explored, but it falters in its execution because what's in the frame is far less interesting than what's not.

Delicatessen seamlessly fuses a urine-dyed post-apocalyptic world with the whimsy of humanity’s dispositions. It’s smart, zany, and fresh — just like a deli.

‘The Room Next Door’ tries to look for a meaning and purpose, but this unexpectedly turns out to be a theatrical therapy session going in circles.

Alice Rohrwacher’s magical realism-slash-heist film La Chimera is nothing short of dreamy and haunting, almost like a philosophical and spiritual Indiana Jones.

Kiyoshi Kurosawa creates a genre-bender, deftly blending elements of paranoia thriller, psychological horror, shoot ‘em up, and a surprising touch of dark comedy, creating something wholly unique when genre films have become predictable.

‘Happyend’ has this charm to it that resonates with you, even if you're no longer in your teenage years. Or better yet, it becomes a fitting experience of remembering who you once were.

QCinema’s inaugural Shorts Expo is an unevenly curated, but ultimately, necessary addition to the festival. There are many great shorts here, so hopefully, it can be expanded on further in its future editions.

 ‘Mistress Dispeller’ opens with a disclaimer: everything you will witness on screen is true. What follows is a complicated yet real case of infidelity in which the wife seeks the help of an expert to save their marriage. 

‘Anora’ is a tale of two halves: the first half, in typical Sean Baker fashion, explores Ani’s daily life with a dash of romance that often leans into male fantasy. The second shifts to a cat-and-mouse chase with the supporting characters.

The film’s elegance cannot be disregarded, with how the ghosts of history loom by and large around its characters. ‘Cu Li Never Cries’ is almost like a faded memory, a transformed picture difficult to fully remember.

One may just be impressed to think how for a debut feature, ‘Don’t Cry Butterfly’ just seamlessly flows through everything so nicely. It’s an experience that leaves plenty to think about, whether it be in the creative decisions or the story.

‘Pierce’ hits with a flurry of blows for a story about a tense brotherhood. Its soul is laid bare, framed so disgustingly sharp that one can’t help but be glued to its madness.

‘The End’ wasn’t made to create sympathy for the ultra-rich anyway, but its direction is quite muddled and meaninglessly repetitive. It’s richly detached to a fault.

‘Lost Sabungeros’ suggests through interviews with insider whistleblowers that the criminal mastermind behind the violent disappearances within the e-sabong industry is the notorious gambling tycoon, Charlie “Atong” Ang.

‘When Fall is Coming’ only finds itself to be treated with some care, ending up another vapid attempt in one of Ozon's many to demystify the stable French countryside.

‘Moneyslapper’s’ brand of violence gets disgusting without ever firing a bullet. It is methodical, yet reckless; straightforward, yet deep.