Daang Dokyu is a 6-day documentary film festival showcasing an exhaustive and inclusive program of Philippine documentaries from the early days of Philippine cinema and television to the contemporary documentary landscape.

A Festival of Philippine Documentaries
Sep 19 - Nov 5, 2020


Opening Week / Martial Law, Never Again

September 19-21, 2020

Mendiola Massacre (1987)

Lito Tiongson (AsiaVisions, IBON Foundation)

21 MINS. | R-16

Mendiola Massacre is a newsreel of the massacre in Mendiola Bridge on January 22, 1987. The protest action for genuine agrarian reform by peasant organizations led by Kilusang Magbubukid ng Pilipinas (KMP) resulted in the deaths of thirteen farmers and injuries of hundreds of civilians.


A Rustling of Leaves: Inside the Philippine Revolution (1988)

Nettie Wild

112 MINS. | PG-13

A chronicle of the three points of a political triangle — the legal left, the illegal (armed) revolution, and the enemy which threatens them both: the armed reactionary right. It is 1987. The dictatorship of Ferdinand Marcos has just been overthrown. Newly elected President Corazon Aquino struggles to wrench control of the country from her own military. A Rustling of Leaves poses the key question facing the revolutionaries and the Filipino Left: Should the People’s Movement continue the guerilla war, or do they dare enter legal politics and reveal the hidden face of the revolution?

Imelda (2003)

Ramona Diaz

103 MINS. | PG-13

For the first time, Imelda Marcos tells her own story on film, from being a young beauty queen in the 1950s to becoming the First Lady of the Philippines in the 1960s, until the ouster of Ferdinand Marcos in 1986 with the People Power Revolution. Foregrounding the narrative is not just Imelda and her obsession with power but also the lasting influence of her family on Philippine society even to this day.


Alunsina (2020)

Kiri Dalena

41 MINS. | PG-13

In Alunsina, Dalena explores the potentials and limits of engagement within a community facing trauma. Working closely with human rights organizations, she finds herself documenting the struggles of children and families in an urban settlement severely affected by the government's war on drugs. She engages with another family whose child has resorted to drawing pictures to cope with such tragedy and again confront the complexities in communicating the violence they have witnessed.