‘Room in a Crowd’ utilizes what is essentially a collective scattering of fragmented thoughts and musings to deliver an incredibly ethereal experience.

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.

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.

‘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.

In satiating my curiosity about Bor Ocampo through ‘Dayang Asu,’ I’ve found a filmmaker who playfully mixes social realities with a comical and gruesome take. It’s the type of film that validates any excitement for ‘Moneyslapper.’

 ‘An Errand’ is not constructed kindly. It chooses to luxuriate in a loose and unbounded form with polarizing results... It is the type of film more appropriately found in the MUBI catalog, because it isn't the friendliest for most moviegoers.

In Jun Lana’s struggle to make sense of past political conditions, Your Mother’s Son becomes his definitive bomba film: mired deeply in sex, and politically dense in its delirious and lustful desires.

Pushcart Tales is the type of film that could only be possible in a film festival hosted by a supermarket chain, and it unexpectedly provides the conditions for what is Sigrid Bernardo’s best

So much of Angry Son is defined by its breadth and sincerity, and yet, the film falters for it.

What Firefly speaks well to its audience is a form of sincere storytelling that fully evokes the ageless feeling of adventure.

For a piece of history that, outside of the academe, is not discussed in depth, the film treats its audience to a story accentuated by convincing production design and great performances from its ensemble cast, titular trio aside.

Essential Truths of the Lake finds Lav Diaz revisiting moments that are undoubtedly familiar. It’s a story that has been previously presented in more striking fashion, but its present iteration is still an adventure worth diving into.

Though unrefined in some aspects, 12 Weeks still finds itself to be a fascinating debut from Anna Matutina.

Even if one finds difficulty in the film’s individual plotlines, Plan 75 snakes around these at least with frames and shots that outline the loss of personal grief and humanity that come with the titular program.

Lav Diaz’s return to film sees one of his grimiest, darkest creations in When The Waves Are Gone, an absurdist presentation of the decay of man and masculinity early in the Duterte regime.

If anything, Ajoomma works in the same way most other K-dramas work: family. Every plot point in this film revolves around the importance of it and the ways it changes dynamically, yet always having love remain in spite of everything.