UnMarry: ★★★★★ (5/5)

By Rhea Peñaflor

Disclaimer: I have not watched the other MMFF entries yet, so I cannot compare them to Unmarry, the only film I have seen so far.

The story opens with Celine (Angelica Panganiban), trapped in the suffocating grip of a toxic marriage marked by emotional, financial, and verbal abuse from her husband, Stephen (Tom Rodriguez). Meanwhile, Ivan (Zanjoe Marudo) battles his destructive vice—alcoholism after feeling laos as an art prodigy, a struggle that compels his wife Maya (Solenn Heussaff) to file for annulment, a petition he resists because he still hopes for another chance. Both Celine and Ivan soon find themselves navigating annulment proceedings, a process that is tedious, serious, and financially draining.

The film cleverly lightens this heavy subject through Atty. Jackie (Eugene Domingo), Ivan’s cousin and the lawyer handling both cases. Eugene’s natural comedic timing brings humor and balance, making the legal process easy to understand and interestingly engaging. Even when a situation such as Celine and Ivan sharing the same appointment with their lawyer would not realistically happen in real life, creative liberty works. The script, written by Chris Martinez and Therese Cayaba, never feels forced or pushy. It flows like serendipity: Celine and Ivan needing each other at the exact moment they are both emotionally broken.

Director Jeffrey Jeturian deserved the recognition for how he handled the material. His direction, paired with the script, captures the Philippine context authentically whether it’s Cavite neighborhoods with karaoke until 2 a.m., Makati condo living, or the nuances of burgis and conyo culture. These details ground the film in lived Filipino experiences.

As the story unfolds, Celine and Ivan vow to support each other until their cases are resolved. Celine ultimately succeeds in annulling her marriage, opening the possibility of a new beginning with Ivan. Yet Ivan chooses to remain with his family instead of pursuing a relationship with her. The film wisely resists melodrama—the moment is brief, understated, yet deeply affecting. Importantly, it does not succumb to popular tropes; it could have ended with Celine and Ivan together, but it deliberately chose not to.

The ending reinforces the film’s moral compass. Celine opens her own pastry business, naming it after her daughters Chloe and Zoe, despite losing her original cheese roll business to her ex-husband. This powerful message—that no one, not even those closest to you, should take away your dreams resonates strongly to the Filipino viewers. It was Celine’s lifelong dream to build her own pastry shop, and the film honors that journey leading to women empowerment.

As a standalone entry, UnMarry shines. Angelica Panganiban delivers a remarkable comeback performance—one I would have awarded Best Actress. Jeffrey Jeturian rightfully earned recognition as Best Director, while the film’s Best Screenplay and Best Editing wins were equally well deserved. The character of Elio (Zac Sibug) also received the Special Jury Award for Breakthrough Performance, further strengthening the ensemble cast.

What I admire most is that the film did not chase trends or popularity. Instead, it respected the annulment process, highlighted that love can take many forms, and delivered its message through visuals and natural acting rather than lengthy dialogue or excessive flashbacks.

For me, UnMarry is proof that Filipino cinema can be both entertaining and meaningful—capturing humor, heart, and moral lessons in equal measure.

Erratum: My column title remains 360 Degrees, not 360 Degress as previously published. Thank you, and Happy New Year!