Kurt Joshua Oro is a student-filmmaker pursuing a degree in Bachelor of Arts in Communication, Digital Cinema Track. Having immersed himself in various production roles, he has taken on responsibilities as director, writer, assistant director, and producer. Guided by the belief that a single story holds the power to change how we feel the world, he crafts films that aim to awaken, transform, and stir something essential within the audience: a catharsis, a reckoning— a shift. He has explored terr...
Kurt Joshua Oro is a student-filmmaker pursuing a degree in Bachelor of Arts in Communication, Digital Cinema Track. Having immersed himself in various production roles, he has taken on responsibilities as director, writer, assistant director, and producer. Guided by the belief that a single story holds the power to change how we feel the world, he crafts films that aim to awaken, transform, and stir something essential within the audience: a catharsis, a reckoning— a shift. He has explored terror and social apathy in his horror film Mata? Mata! Mata; (2023), captured the disconnect of lovers in the digital world in Pa’no Sa Susunod Na Brownout (2024), and defied society’s stigma through the power of love and memory in the political drama Silab ng Pira-pirasong Alaala (2024). Navigating the contradictions of human experience, he seeks to make the invisible visible — whether whispered through quiet, mundane details or screamed into existence through poetic outbursts.
Kurt Joshua Oro is a student-filmmaker pursuing a degree in Bachelor of Arts in Communication, Digital Cinema Track. Having immersed himself in various production roles, he has taken on responsibilities as director, writer, assistant director, and producer. Guided by the belief that a single story holds the power to change how we feel the world, he crafts films that aim to awaken, transform, and stir something essential within the audience: a catharsis, a reckoning— a shift. He has explored terror and social apathy in his horror film Mata? Mata! Mata; (2023), captured the disconnect of lovers in the digital world in Pa’no Sa Susunod Na Brownout (2024), and defied society’s stigma through the power of love and memory in the political drama Silab ng Pira-pirasong Alaala (2024). Navigating the contradictions of human experience, he seeks to make the invisible visible — whether whispered through quiet, mundane details or screamed into existence through poetic outbursts.
