Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.
Someone described Todo todo teros as a film like a patchwork quilt. That may not have been intended as a compliment, but you could regard it as such: the patchwork quilt as a metaphor for a complex and both playful and serious collage of reflections and impressions. Torres put together a variety of materials and also treated them in different ways. It would appear that the film maker started with a kind of cinematographic diary about the Russian guide Olga, whom he met during a festival visit to Berlin. A very personal report - just as the whole film is personal, but not in an equally direct way everywhere. For instance the film provides an impressionist portrait of a group of film makers, musicians and other artists in Manila. You can assume that these are also diary-like recordings but thanks largely to the use of texts, on screen or in voice over, they transcend an all too concrete or even documentary mood. There is also a more fictional side: the story of an artist who regards himself as a terrorist at a certain point and wants to act on that notion.
The unusual feature of the film is the way in which all the different angles, narrative lines, documents, music forms, texts and whatever are brought together associatively. The form looks initially rough and random, like the material of an unfinished film, but slowly the film reveals its melody, like a demanding piece of music. (GjZ)