Los Otros Films

A grieving detective finds himself increasingly ensnared while investigating a case involving a sinister navigation app causing physical and psychological debris.

A small town in the Philippines is turned upside down by the arrival of a film crew that has everyone excited. Meanwhile, 13-year-old Lukas finds his own world overturned when he is told that his father is a tikbalang (half horse, half man). His father’s disappearance leaves Lukas to try to unravel the mystery of his own heritage and his own nature.

Eight year-old Yael, shy to a fault, lives in her own private world. One day she finds out about a pen that can "translate" the thoughts and feelings of nervous people.

A culmination of several years of shooting, editing, relocation, and reflection—acclaimed experimental filmmaker Miko Revereza forges a personal and profound portrait of immigration, disillusionment, and the elusiveness of home.

"Mapang-akit" is an offshoot of a documentary project made with an Icelandic filmmaker and uses the outtakes from the Hudas Hudas festival in Antique, where a community bonds over a large effigy of Judas Iscariot during Holy Week. Amidst it is a found story of a man who returns home to his death after pursuing a woman in a neighboring village.

Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”

Landscapes, things, men, women and children taken by an "evil eye" more than a century ago haunt the present in this jagged reverie. A persona voicelessly narrates, via captions, going through colonial photographs, digresses to eating fruit and entering a cave on a tropical vacation island.

It follows the story of a stepmother who, after moving in the home of her husband is haunted by her possessed stepdaughter.

Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.

A quiet whistling returned from childhood; the calm of a sky and a river dissolving into one another, from which emerges the image of a loved one. For the duration of a reflection, the water reveals memories and offers the delicacy of a glimpse into the course of a life.

Filmmaker John Torres describes his childhood and discusses his father's infidelities.

Village miracles caught on tape: images of a river that must be crossed to erase heartaches, imagined with a boy who has never experienced sorrow.

John Torres repurposes documentary footage captured from the sets of various Filipino productions (including the likes of Lav Diaz and Erik Matti) into an eerie, elliptical sci-fi narrative about human avatars controlled by apps.