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Updated: Netflix was the big winner on Night Two of the Asian Academy Creative Awards on Thursday in Singapore, which were held concurrently with the Asia Television Forum and Market.

Netflix scored five wins including best feature film for Japan’s “Akakusa Kid” and best actor in a leading role for Korea’s Jung Hae-in for his role in “D.P.” India’s Basil Joseph won best direction for Netflix’s “Minnal Murali” while his compatriot Shreya Dube won the cinematography award for Netflix’s “Thar.” Taiwan won both best actor and actress in a supporting role for Wu Kang Ren in Netflix’s “Light The Night” and a posthumous victory for Liou Yiin-Shang for “Still Me,” respectively.

Jodi Chrissie Sta. Maria won best actress in a leading role for “The Broken Marriage Vow.” Korea won the best drama series for a third consecutive year for Cj Enm’s “Twenty Five Twenty One.

Prior to Marcos' declaration of Martial Law, the Philippines was in complete disarray. The regime, dictated by a culture of corruption and violence, would have students and other activists disappear, only to be discovered as victims of torture or worse, as dispatched bodies. However, in the Adorasyon convent, nestled deep within the forests of Rizal, news of these abuses are only heard from the occasional visits of family members or smuggled newspapers and transistor radios. Kept away and protected from the harshness and temptations of the outside world by their dutiful mother superior (Fides Cuyugan-Asesnsio), the nuns enjoy the simple pleasures of a life lead by the daily routine of work and prayer. One night, newcomer Lourdes (Jodi Sta. Maria) gets raped by bandits...

Adolfo Alix, Jr.'s Chassis opens with Nora (Jodi Sta. Maria) ironing the school uniform of her daughter inside a modest house. The house, perhaps a few square meters wide, consists of very few belongings, some furniture, the ironing horse, cheap ornaments hanging on the wall, one of which Alix's camera becomes fixated on because it showcases the ideal house. Nora finishes her chore and thanks the owner for her kindness. No, this is not Nora's house. She lives elsewhere.

 

Alix's camera follows Nora as she crosses a wide cement gap that separates her neighbor's house with the parking lot of huge container trucks. Underneath the chassis of one of the parked trucks hangs a hammock where Nora's daughter is sleeping. Nora's husband sleeps on the cold cement. This is Nora's home, or at least until the truck drives off to one of its many destinations. She wakes her daughter,...