Maxi, a boy on the cusp of his teens, is already comfortable with his homosexual feelings, with acceptance from his family. When Maxi is assaulted one evening, Victor, a police officer, comes to his aid. Maxi soon develops a crush on Victor, who shows a platonic affection for the young lad.

A story about Laurene who wants to elevate her seven-year relationship with Conrad. When Easton comes inito the picture, she believes she is the perfect addition to their sexual relationship.

Mobster Asiong Salonga (ER Ejercito) rules the mean streets of Manila with an iron fist—until he is betrayed by a trusted friend. Manila Kingpin is based on the story of the notorious Tondo, Manila, gang leader Nicasio “Asiong” Salonga, whose true-to-life accounts had been portrayed in several movie versions since 1961 (starring Joseph Estrada). It is also the first Filipino major film produced in black-and-white in the 21st century as well as the returning action genre movie. Before the film was shown, Tikoy Aguiluz requested the producers, through his lawyers, that his directorial credits in the film and promotional tools be removed because the final version of the film can no longer be described as his after the producers made a reedit, re-shoot and music mixing without his involvement. He also demanded that he be allowed to make a director's cut of the film.

Forced to find a job as his family's breadwinner Noy (Coco Martin) poses as a journalist commissioned to come up with a documentary following the campaign trail of his namesake and top presidentiable bet Sen. "Noynoy" Aquino for the 2010 Philippine National Elections.

Moises, a single Filipino dad, comes home to celebrate his son's fourth birthday and learns that the Israeli government is going to deport the children of foreign workers.

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”.

Mystery surrounds all the characters and seemingly ordinary events become suspenseful and thrilling as the fate of two souls forever intertwined, affect destiny, change life… cause death.

The film is set in a speculative Philippines where air pollution has reached irreparable proportions. Air pollution has rendered breathable oxygen scare. This makes it the main resource around which society revolves. The film follows two protagonists: Leo Sagaysay, a young father and husband who works at the Oxygen Factory, and his wife Rubi Sagaysay. Together they have a son, whom they struggle to support. The appearance of ex-factory worker Tess at their door sets off a chain of events that leads to the downfall of the Sagaysay family.

When the people of Maratabat finally realize that their time under the corrupt politician clan of the Abubakars has to come to an end— a series of violent acts occur one after another. The people rally behind another clan –the Mahardikas – to end the violence and place a new leader in their region. Will the Mahardikas choose a path of violence or peace? Will it be for honor or will it be for pride?