| 1981 | Atomika |
| 1982 | Four Artists in France |
| 1983 | Oliver |
| 1985 | Children of the Regime |
| 1986 | Beyond the Mainstream |
| 1987 | Homage |
| Revolutions Happen Like Refrains in a Song |
| 1990 | A Legacy of Violence |
| Let This Film Serve as a Manifesto for a New Cinema |
| 1991 | Ynang-Bayan: To Be a Woman is to Live at a Time of War |
| 1992 | Tuklas-Sining / Pelikula: Philippine Cinema 1961-1992 |
| Tuklas-Sining / Panitikan: Spanish Influence on Philippine Literature |
| 1993 | Continuing Lives: Women of the Bases |
| Memories of Old Manila |
| 1994 | Isaak |
| 1995 | The Sex Warriors and the Samurai |
| Private Wars |
| 1998 | Mother Ignacia: Ang Uliran |
| 2000 | Pedrong Palad |
| 2009 | Cine > Sine: Spanish Beginnings of Philippine Cinema |
| 2010 | Rice |
| 2012 | Cross Currents: Journey to Asian Environments |
| Batanes |
| Biwako |
| Kali Code |
| Khiriwong |
| Tasik Chini |
| 2013 | Gunita: A Short History of Cinema in the Philippines |
| 2014 | Film: American Beginnings of Philippine Cinema |
| 2016 | Eiga: Cinema in the Philippines during World War II |
| 2017 | Cine Tala |
| Jose Nepomuceno and the Beginnings of Philippine Cinema |
| 2021 | Kwento ng Midya |
| Yaman ng Dagat |
| Trashzilla |
| DOT |
| Sanctuary |
| From Street to Script |
| Livestream |
| Timakas |
| Handum |
| 2022 | Senyales: The Semiotics of Martial Law Films |
| Baklas-Diwa: a Study of Postcolonial Semiotics |
| Bakawan: Protecting the Mangroves |
| Terrazilla |
| Bato-Bato-Pik |
| Alternatibo: an Overview of Alternative Cinema in the Philippines |
| Bulosan: in the Heart of America |
| Ka Amado and Ka Atang: a Love Story |
| Intergalactic Pinay |
| Papet Pasyon |
