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His films like 'After the Storm' and 'Our Little Sister' subtly explore economic desperation, transactional relationships, and the moral compromises ordinary people make to survive.

His gritty, neorealist films such as 'Kinatay' and 'From What Is Left Behind' unflinchingly examine exploitation, poverty, and the commodification of human bodies in Southeast Asia.

His works like 'Still Life' and 'A Touch of Sin' document the human cost of rapid modernization, depicting characters driven to transactional relationships by economic inequality.