Tag: Jhoanna San Juan

Open Endings (Nigel Santos, 2025)

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Is it acceptable to be friends with your exes? Charlie’s (Janella Salvador) bond with her friendship group made up of women who’ve all been romantically entangled at one point or another becomes a problem for her new relationship. Rafa (Rachel Coates) finds the situation altogether too weird, and even goes so far as to ask Charlie to cut her friends off. It might not be a good idea to date someone who tries to isolate you from friends and family, but Rafa claims these are just her boundaries and she can’t help feeling uneasy with Charlie spending so much time with women she’s previously slept with.

Then again, it’s not easy to be gay in the Philippines and this community is quite small. Can you really afford to cut people off just because of potential awkwardness? Each of the women is struggling in their own way, but tries to support her friends and is supported in return. The group only really formed as the exes banded together to look after Hannah when her partner passed away. Sundays have now become sacred to them as a time they can all come together and share their fears and worries no matter the various unresolved feelings that exist between them.

These relationships are often messy and ill-defined, but genuine and heartfelt. For Kit (Klea Pineda), friendship is most the beautiful of gifts and she fears acting on her feelings for Charlie because she doesn’t want to ruin what they have. Still closeted not wanting to upset her parents are religious and conservative, Kit is in an awkward non-relationship with a married woman who is also the mother of one of her pupils at the school where she teaches. Alexa (Yesh Anne Burce) is trapped with a heteronormative relationship she cannot escape because divorce is still not legal in the Philippines. Constrained by her own circumstances, she becomes possessive of Kit who is the only path back to her authentic self and the only person with whom she can be free. In other ways, however, perhaps the impossibility relationship suits Kit because she cannot be her authentic self either while unable to reveal her sexuality to her parents. 

The impossibility of divorce is also a factor when Hannah (Jasmine Curtis-Smith) suddenly drops the bombshell that she’s become engaged to a man. The group’s only bisexual, Hannah faces prejudice from her family who express relief that she’s finally got over her lesbian phase and rediscovered the right path, while the friends also see it as a kind of betrayal though perhaps only because she kept her new relationship secret from them for several months. Charlie is also subjected to homophobic violence when a man barges into the gay bar where she’s drinking and propositions her, insisting that she is “alone” because he’s only seen her with another woman. When he finally figures it out, he sees it as a challenge and quickly becomes violent. 

These kinds of petty aggressions remind the women of their precarious position within a hostile society that enforcers heteronormativity and traditional gender roles. Their friendship is a small bubble of resistance that gives each of the women additional confidence to continue being who they are. This atmosphere of hostility plays into Mihan’s insecurities, her far of commitment and inability to clearly declare her feelings. She resents Hannah for choosing to marry a man as if she were doing it because of social expectation rather than personal desire, while also forced to accept that this is all her fault. She had plenty of time to try and patch things up with Hannah, but never did. 

The open-ended nature of these relationships leaves Mihan with anxiety, but it also allows these women to continue being friends and supporting each other. The friendship doesn’t have to end just because the romance did. But at the same time, she has to accept that the risk of heartbreak is something that has to be actively embraced and her tendency to skip out on relationships the moment they become serious leaves her only with a lack of resolution. Painting a warm and funny portrait of contemporary queer life in the Philippines which nevertheless does not shy away from its difficulties, Open Endings celebrates most of all the joyousness and power of female friendship in the face of social hostility.

Open Endings screened as part of this year’s Queer East.

Trailer (English subtitles)

Moonglow (Isabel Sandoval, 2026)

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A conflicted policewoman is placed in charge of investigating a crime that she herself committed in Isabel Sandoval’s moody noir, Moonglow. In many ways about the deadening quality of life under authoritarianism, the film contemplates complicity and resistance along with the “paradise of progress” that is touted as the modern Philippines though it faces many of the same problems as in 1979. You may think of yourself as some kind of moral crusader, Dahlia’s aunt warns her, but you’re no match for them.

Sister Therese may have a point. The news is full of stories of abandoned bodies and mysterious fires. Dahlia (Isabel Sandoval) characterises her theft as an act of rebellion and retribution. She does not keep this large sum of money taken from her corrupt boss’ safe for herself, but gives it to her aunt, a nun, with the instruction that it’s to be used to help the victims of a slum fire that later turns out to have been orchestrated by the police chief who is getting kickbacks from construction firms and envisions a bright future for himself in politics. 

Going into politics seems to be the ultimate goal for many. Charlie (Arjo Atayde) was also being groomed for office, but chose to emigrate instead after being confronted by the ugly side of his family’s elite status. The nephew of police chief Bernal, he’s just returned from America to look after his ailing father having become a lawyer rather than law enforcement official. Nevertheless, Bernal appoints him to the investigation presumably assuming he’s a safe person to ask because he’s family and therefore no threat to him. Old flame Dahlia, however, remarks on meeting him again that he now wears glasses, as if signalling Charlie’s ability to see things with more clarity than those around him whose vision has been blurred by continued exposure to life under the Marcos regime.

Dahila, who chose to stay rather than leave with Charlie, has indeed been compromised and is to an extent at least complicit as an agent of authoritarian power and according to some Bernal’s right hand woman. She says herself that she’s summoned in ghost in Charlie’s return and is haunted by the person she was before along with that of lost love. Each of them have repeated flashbacks to a lavish party shortly before Marcos took power which seems to hint at the coming future as Bernal introduces a man soon to be governor who echoes the contemporary radio broadcasts speaking of an era of prosperity hovering the horizon.

Alvaro manipulates Bernal with promises to make him his political successor, while it’s clear that any “prosperity” to come will only be for some. They burn slums to seize the land for shopping malls and luxury apartments leaving hundreds of people homeless and others of them dead. Alvaro later implies that some of the stolen money has been used to get the victims legal representation to challenge the government, a power that he also believes to have been “stolen” in that they have no right to it. Indeed, the authorities silence contrary voices without compulsion offing an investigative journalist reporting on the fires and later coming after Dahlia. Charlie reminds her that Bernal would sacrifice anyone, and indeed later implies he may do so with him when he starts asking the wrong questions about how much money went missing from the safe. 

Yet Dahlia’s tragedy is that in the end she can’t escape herself or her past. She can’t make all of this right through her act of rebellion, but neither can she accept the ways in which she did not resist or leave as Charlie had. That other life is also haunting her. Sandoval’s frequent use of dissolves signals the foggy quality of life under authoritarianism in which it becomes impossible to think or see clearly when every moment is self preservation or active complicity. Past, present, and future come to co-exist with Dahlia stuck somewhere in between, longing for a return to an elusive past while fearing that the future is no longer possible. She and Charlie are now, as she says, different people. Their romance belongs to another era which has now become inaccessible, or perhaps existing only in the realms of memory as a painful reminder of that which could have been.

Moonglow screens in Amsterdam 11th/12th April as part of this year’s CinemAsia Film Festival.

Trailer (English subtitles)