Pelipula Productions

A desperate man, eager to reclaim his fiancée’s engagement ring, decides to sell their bed—only to find it becoming the stage for passionate encounters, forbidden desires, and the tangled lives of lovers caught between love, lust, and survival.

Set in Philippine post-American colonialist era, where the American influence was still apparent, Ilusyon tells the story of Miguel, a young man from the countryside, who decides to visit his father, Pablo, a Modernist painter in Manila. Upon his arrival, he discovers that his father has decided to leave for the province but he opted to stay in Manila for a vacation. One day, he meets Stella, a nude model originally scheduled to pose for Miguel's father. Struck by her beauty, Miguel does the unthinkable - he pretends to be his father the painter. Developing a relationship based on a lie, things turn for the worse as Stella begets a strange skin disease that turns off Miguel. Surrounded by strange characters - a talking cow, a talkative mailman and a nosy landlady - Miguel is driven into a frenzy realization about beauty, lust, love and being true to oneself. An ambiguous ending underlines the surreal tone of the film.

Diego Loyzaga and Joel Torre go head to head in this action-packed movie about a former hit man trying to live a normal life when someone from his past sees him and puts his family and friends in danger. Can he sacrifice his new life to fight for the ones he loves?

Imahe Nasyon is a groundbreaking, conceptual omnibus film by 20 alternative filmmakers who were tasked to present their personal visions on national issues. Renowned line producers Jon and Carol Red hatched the idea of revisiting the 1986 EDSA revolution, challenging directors to answer the question "What happened after 1986?" with a short film not longer than five minutes each. Despite individual techniques, the same goal is shared: to depict a truthful image of the nation at present.

A story of greedy businessman on how they make their own money.

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”.

A young boy from the province goes to the city for the first time and learns about the urban life through the characters inside a jeepney.

An intriguing look into a world of drugs and crime, dynamically moves through the lives of the different characters – the drug lord Enteng, his minions, the police, and customers.

Noynoy wants to liberate Ningning (Jewel) but gets himself entangled to the underground

Presidential Security Group member gets to air his true sentiments about the president he guards over a sumptuous breakfast.