This article examines Peque Gallaga’s film Oro, Plata, Mata as a case study, through Pierre Nora’s concept of lieux de mémoire (“memory spaces”) to explore how the Asia-Pacific War is inscribed in Filipino domestic spaces. Set in Negros Island, the film follows upper-class families displaced across the mansion, the hacienda manor, and the forest lodge. Gallaga’s domestic spaces operate as ideological theaters that privilege upper-class nostalgia while rendering working-class experiences invisible. This view situates Oro, Plata, Mata within the broader context of Asia-Pacific War cinema, offering how cinematic memory-making reflects the class-bound nature of historical consciousness in postcolonial Philippines.