
Acting
Ramon Veroy Confiado, professionally known as Mon Confiado, is a Filipino character actor, theater actor and businessman who has appeared in both mainstream and independent films. He is the son of late veteran actor Ángel Confiado from a second family. He is best known for playing Emilio Aguinaldo in the movies Heneral Luna, Goyo: The Boy General and Quezon. He is a two-time FAMAS winner for his supporting roles in Mga Gabing Kasinghaba ng Hair Ko (2017) and Eddie Romero's Faces of Love (2007).

Rosario was an attractive young lady who was made to believe that she deserves only the best in life and that she belongs only to the man who can shower her with luxury . So when Chris , ferocious young man from a broken family started to court her , she turned him down because she felt that he did not deserve her . But Chris could not accept rejection , so he decides to use force on her . Rosario's world crumbled after she was molested by Chris . Unknown to her , this was just the beginning of a series of misfortunes that was to come her way . Her parents figured in a car accident taking her father's life while leaving her mother physically incapacitated . Because of this , she was forced to take on the dirty job of being a strumpet . Chris meanwhile was made to pay for his crime . But because of his exemplary behavior inside prison , he was released on parole . Chris locates Rosario and he finds her in a red house . Will it be a happy ending for Chris and Rosario ?

The quest for truth about the plight of a Filipina entertainer who went to Japan for greener pastures and was brought back to Manila dead.

A witness under police escort is attacked. A policewoman, the only one who survives, is sheltered by indigenous people, but assailants hunt her down... An action thriller set in Bataan.

Alma and Teresa Carrillo are illigitimate children of Basilio who belongs to a rich clan, but they were never accepted by his mother Josefa and his wife Doreen. The sisters never expected any help from their father despite all their suffering. They suffered more when Alma's husband Teddy was killed, leaving in their care her two sons Abet and Jun. When Alma died, only their half-brother Raffy helps Teresa. Teresa fights back and confronts the Carrillos.

A nurse whose womanly instincts and gut feel are aroused because of the mysterious cases happening in the hospital where she work. To what revelations her curiosity will lead her to uncover?

Four kids stow away from home and became street children. A philanthropist adopted them and treated them as his family until they were held hostages.

After finding a Feng Shui amulet, Joy starts to see a string of fortunate events come her way. Soon, she realizes it is, in fact, a curse. Now she must break the cycle of good fortune and death in order to save her family.

Alma, Azi Acosta, is a high-end bar girl. She has decided that prostitution is her profession, her life, her means to achieve her dreams and her happiness. She caters to all men who can afford her price. But she favors two men: a rich lawyer and a bank executive whom she calls Tiger Joe and Kabayo respectively. Another regular customer is a student who has professed his undying love for her. Alma's routine life is disturbed when Sheila, Jaclyn Jose, an aging street prostitute, introduces herself to Alma as her mother who sold her to strangers after birth. This meeting will open the door to Alma's past that she has refused to confront. A long-lost ailing mother, the search for a father, and the truths of a painful past will test the values of these two women who have become victims of poverty and men. In the end, Alma and Sheila will make choices that will define them not only as individuals but as women.

Ariel is the son of a rich family where Teresa's mother works as a maid. They are childhood friends who had been separated. As time passed by, they meet again and didn't let the status of their life be a hindrance to their love.

The title “Kamera Obskura” is a Filipino spelling of the latin “Camera Obscura” which simply means “dark room”. The film’s concept adheres to formalist cinema, where the filmmaker’s thesis is to make a semblance of a vintage film seemingly produced sometime in the late 1920s to early 1930s in the Philippines. The thesis is to conjure up a film from a period that did not really exist in Philippine cinema’s historical cultural heritage as we know it, such as a pseudo-expressionist / experimental Filipino cinema of the silent film era. It is a film within a film. The narrative plays with the idea of a retro-futurist world where a prisoner locked away in a dark chamber for over two decades only sees the reality of the world outside through the small hole in his cell, which projects an image of the city on his wall, the phenomenon of the “camera obscura”.

Julia, a psychiatric patient is tormented by her demons. Stricken by guilt and fear, she seeks the help of Manuel, a mysterious police detective, to save her from Judith, her estranged evil twin sister who wants her dead. As Julia and Manuel track Judith down and solve the crime that the twins committed years back, the film spirals down to a mind boggling ride as the truth of Julia’s nightmarish dark past unravels.

