Film Review #4: Sunshine (2024)
- Rachel Joyce Burce
- Aug 3, 2025
- 7 min read
What sets Antoinette Jadaone apart from the rest of the Filipino filmmakers today is the consistency in her storytelling. From unveiling the consequences of a young and passionate Fan Girl who follows her idol to a borderline-obsessive extent, to unpacking the toughest challenge yet of a young and promising gymnast in Sunshine, Direk Tonet has remained steadfast in championing women empowerment through her films. Even in her romantic, feel-good works such as That Thing Called Tadhana and Alone/Together, as well as her early piece Six Degrees of Separation from Lilia Cuntapay, the strength and freedom of women have been the core of her craft.
Receiving a nod from fellow internationally recognized filmmaker Lav Diaz and echoing film director Quark Henares' recent remark—I would agree that with Sunshine, Antoinette Jadaone has already secured a seat as one of the greats in Philippine cinema.
If you're wondering why, consider this a spoiler warning: I'll break down scenes and imagery I found most compelling. Because Sunshine is still showing at SM Cinemas, I encourage you to watch it first, then come back to this review later in case you need some answers.
The Story Beyond The Spotlight
On the surface, Sunshine, starring Maris Racal, follows a young gymnast who unexpectedly finds herself pregnant while chasing her Olympic dream. She suddenly faces a situation that tests not only her ambition, but also her sanity and sense of self.
This premise, as shown in the trailer, piqued my curiosity as to how the film would unfold. I wanted to see if these particular questions will be answered:
Will Sunshine keep the baby?
How did she come to terms with her decision?
How did it impact her life in the present and in the future?
What is the moral of the story?
Having these thoughts in mind kept me peeled into each scene even more as I grappled to look for answers. However, by the time the end credits rolled, I only did two things: clapped and cried in silence.
I applauded Sunshine's presentation of the underlying, interconnected concerns surrounding teenage pregnancy leading to abortion, and the deeply-rooted reasons behind them that have been happening in our society, but are not properly addressed.
First, there's the lack of comprehensive sex education and absence of open, helpful conversations both in schools and at home. Because of this, people have often misconstrued ideas on the concept and levels of consent.
Second, the painful reality of sexual assault within families, paired with the alarming lack of appropriate support systems and safe spaces for victims. It is disheartening to see these situations continue to occur in a country where misogyny, gaslighting, and victim-blaming remain prevalent, especially in marginalized communities.
Third, the stigma and discrimination faced by women in hospitals when they seek proper health care after an abortion — often met not with compassion but with judgment. This lack of empathy is not limited to abortion-related cases and includes other conditions such as HIV, among others.
Lastly, the striking irony of maternity wards: crowded, chaotic, and almost suffocating, yet mothers still manage to support one another. But this kind of resilience, while admirable, is also deeply troubling. It reflects a systemic neglect on health care, which the government must be held accountable for.
The film is bold in conveying that abortion is not something taken lightly. It remains to be easier said than done, even for a woman who is slammed against a wall and pressured to just give up and get rid of the life growing inside her. When you think it's nothing but selfish to even consider abortion, Sunshine reminds us that it takes countless hours of overthinking and self-doubt before coming to a final decision. It also reinforces a powerful truth — that motherhood is not the be-all and end-all of being a woman, and that we are who we are and who we choose to be.
The Emotional Labor of Choice
As a mom myself who also went through a brief phase of denial, I realized how privileged I was to have someone who didn't hesitate, even for a second, to take responsibility. I was blessed with a partner who allowed me to process my messed up thoughts and emotions, and who patiently waited for my decision about what I wanted to do moving forward. I was gifted with a family so understanding, loving, and supportive that I never had to seriously consider the alternative and just proceed with my pregnancy.
But I know that not every girl or woman is as privileged as I am. The mere fact that I have the option to do nothing is already a privilege. For others to be denied their basic human right to choose is evidence of a long-standing systemic problem in our society and in our shared humanity.
Imagery of The Ideal Self
Another aspect of the film that stands out as nothing short of genius is its use of symbolism. The young girl character played by Annika Co, who keeps appearing and following Sunshine, and "Ariana", the gay boy companion of 13-year-old Mary Grace (portrayed by Rhed Bustamante), serve as metaphors for their respective ideal selves. These characters represent who Sunshine and Mary Grace might have been — vibrant, unburdened, and still full of possibilities.
Ariana's sudden disappearance after the death of Mary Grace's unborn baby due to abortion is significantly striking. This seems to convey the message that even if we manage to survive death ourselves, a part of us dies when we are forced to act out of a lack of freedom, knowledge, or access to better circumstances. Both child figures might symbolize a version of the self untouched by suffering, still free to dream and pursue whatever they aspire to become.
Further, that scene before the final sequence, where Sunshine performs her routine alone in their practice room, was so moving it brought me to tears. The look on her face, a mix of resignation and quiet acceptance, spoke a lot without needing words. When Sunshine hugged the young girl, who gently whispered, “Gets ko na” (I understand), it felt like the culmination of everything she had been through. In the end, it all comes down to embracing a choice you make for yourself, and one you owe to no one else but yourself.
Cinematographic Brilliance
The mise en scène was meticulously crafted, and this was especially evident in scenes like the one set in Quiapo, where a billboard reads “In God We Trust.” In the same shot, a jeepney with a headboard that says “Gift of God” passes by, followed by a pan to various items being sold outside Quiapo Church, a place where many devout Filipino Catholics go to seek divine intervention. The series of shots capture stalls that offer everything from holy figures and amulets to abortifacients, all placed side by side. This particular sequence presents irony and sarcasm in a powerfully creative way.
The number of people who worked behind the camera and the extent of their research are testaments to their commitment to portraying realistic scenarios in a work of fiction. The writers, researchers, production design staff, and everyone who contributed to bringing Sunshine to life, have earned my deepest respect and admiration.
Well-Cast Ensemble
The casting is one of the film's strongest suit. Every character delivers their role with impact. There are no wasted characters as each one made a mark, regardless of how brief or lengthy their screen time is.
At 27, Maris Racal's portrayal of a 19-year-old is utterly believable. Like what Direk Tonet said in an interview, Maris has a petite body frame and youthful visuals appropriate for a student-gymnast navigating the complexities of coming of age. The extension of her self, child actress Annika Co, equally stood out by capturing both the quirks and maturity needed for her character.
Elijah Canlas and Xyriel Manabat once again prove why they are among the most acclaimed actors of their generation. Seasoned by years of experience, both deliver performances marked by impressive emotional control and a clear understanding of their characters. Jennica Garcia, on the other hand, continues to make a name for herself. After her standout performance in Dirty Linen, she brings remarkable depth to her role in Sunshine as the older sister and a mother — perhaps drawing from her own experiences in real life.
Piolo Pascual, appearing in another surprising cameo, still managed to draw attention with his uncanny performance both a pastor and a father.
Though everyone is undeniably astounding, it is Meryll Soriano who deserves the highest praise for me. Her portrayal of a coach reminded me so much of my own PE teachers through the years. From her posture and commanding presence to the emotional nuance she brings to her scenes with Maris, Meryll delivers a performance that is both grounded and deeply compelling.
The ensemble cast of Sunshine serves as a reminder of how powerful it is to combine talented actors with well-written material, clearly defined characters, and authentic chemistry. When all those elements come together, the film becomes a rich emotional feast — satisfying, stirring, and unforgettable.
A Personal Reflection
While the final scene might strongly suggest a particular outcome as interpreted by many, Sunshine remains open-ended for me. It allows us, the audience, to fill in the gaps and arrive at a conclusion that aligns with our values and what we feel most at peace with.
The film does not aim to preach or assert a single truth. Rather, it aims to spark meaningful conversations and encourage significant progress around the societal issues presented, most notably, the right to choose.
***
Taking The World Stage Here are some notable milestones that prove Sunshine is not only resonating with audiences, but is also making waves on the global stage:
World Premiere at Toronto International Film Festival (TIFF) – September 2024
Crystal Bear Winner at 75th Berlin International Film Festival (Berlinale) – Best Film in the Generation 14plus section – February 2025
US Premiere at Palm Springs International Film Festival (PSIFF) – January 2025
Double Win at AAAFF: Narrative Feature Jury Award and Narrative Feature Audience Award – Austin Asian American Film Festival – July 2025
Nominated as Best Youth Film – 17th Asia Pacific Screen Awards (APSA) – October 2024
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