Filmmaker John Torres delivers memories intertwined with reflections couched in commentary. Todo Todo Teros is at once a personal work and social commentary about life in the filmmaker's country. The Philippines, he feels, is a country sinking more and more into being like a prison. Torres tells the story without a straight narrative line but is able to orchestrate it into a compelling work of poetry using impromptu music scenes, shots of Manila nightclub musicians, the street life of the poor, and much more. This collage is anchored by Torres' own narrative voice as he reflects on himself, what he is, who he is. He says he is a terrorist; an allusion perhaps to how love terrorizes by intruding. Much of the action takes place in Berlin, where Torres films close-ups of his tour guide, a Russian woman named Olga. His intriguing infatuation makes us question his obsession with her despite the girlfriend back home. Honest, probing, and thoughtful, the journey is about personal and political paranoia, how the line between the two is quickly disappearing. This is a ride that keeps the twists and turns moving toward questions and reflections that in the end grip the viewer.