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.

‘Gladiator II’ serves its purpose by harkening back to what made the first film resonate, with a story fueled by familiar tropes of vengeance, redemption, and an expected underdog narrative.

 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.

A tense, cerebral, yet crowd-pleasing chamber piece, ‘Heretic’ stacks tantalizing theological disquisitions and moments of primal terror on top of each other to create one entertaining thrill ride.

‘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.

‘Conclave’ is an incoming classic that compels audiences to still believe in the power of well-acted, dialogue-driven movies.

‘Moana 2’ makes its valiant effort to live up to the previous film. What lies beyond seems unforeseeable, and how far it will go remains a huge question.

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.

‘Wicked’s’ film adaptation is a rewatchable hit showcasing Cynthia Erivo’s prowess and Ariana Grande’s perfect Glinda-isms. It’s not without a few creative hiccups, but it certainly still defies gravity.

 ‘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. 

‘Tale of the Land’ is an ambitious attempt to connect societal issues such as forced displacement and familial trauma. It didn’t stick its landing, though it’s still serviceable.

‘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.