Actress and comedienne Giselle Sanchez is no stranger to complex roles and controversial scripts. But in a rare moment of candid introspection, the seasoned performer revealed that one of her most high-profile portrayals — a fictionalized version of former President Corazon Aquino in the 2022 film Maid in Malacañang — is now something she deeply regrets.

Speaking in a teaser for The Men’s Room episode of “Long Conversation,” Sanchez did not mince words.

“Pinagsisihan ko ‘yung pagtanggap sa role na ‘yun ( I regret accepting that role),” she admitted. “I should have thought about it better. Sana inisip ko na taga-UP ako, sana inisip ko yung bansa ko (I should have remembered that I am from UP. I should have thought about the country).”

The scene in question, where Sanchez as Cory is shown playing mahjong with nuns amid the historic 1986 People Power Revolution, sparked national outcry upon the film’s release. Critics and historians lambasted it as a blatant distortion of historical truth, while supporters of the Marcos family hailed the film as a bold reimagination. In the middle of the cultural crossfire stood Sanchez, whose portrayal became a lightning rod of criticism.

For her, hindsight comes with clarity — and remorse. While she has continued to work steadily in showbiz, this role has lingered as a moral and artistic crossroads.

Yap responds: ‘Regret din siya ng production’

Not long after Sanchez’s comments made headlines, Maid in Malacañang director Daryl Yap issued a lengthy and emotional response via social media, simultaneously expressing understanding and subtle reproach.

“Naiintindihan ko po ang sentimyento niya, sa totoo lang, naging regret din siya ng production (I understand her feelings. In truth the production also regretted her),” Yap wrote. “Si Giselle ang talagang nabasag at naapektuhan, siya ang inalala ng team (The team remembers how affected Giselle was).”

In his characteristically sharp yet poetic style, Yap emphasized that everyone in the project — from cast to crew — was briefed and prepared for backlash. According to him, Sanchez may not have been emotionally equipped for the role’s inevitable public scrutiny.

“Pinaghanda ko ang mga bubuo ng pelikula… Si Giselle ang hindi ganap na handa sa opinyon ng publiko (I prepared all the people involved in the movie. But Giselle was not fully prepared for public opinion),” he explained.

But Yap reserved his sharpest remarks for Sanchez’s reference to her background at the University of the Philippines, a nod often tied to critical thinking, activism, and nationalist values.

“Ang hindi ko lang gets ay yung ‘Taga-UP ka pa naman bakit tinanggap mo yan.’ Bakit? Iba ba ang hangin sa UP?… Pwede kang maging maingay at makasakit sa mga opinyon mo pero pag nakarinig ka ng makakasakit sa’yo ay hahagulgol ka (What I don’t understand is that her being from UP should have been a reason not to accept the role? She can be opinionated and express her thoughts but when she is the one hurt by the opinion of others she falls apart).”

Despite the underlying frustration, Yap concluded his statement with an assertion of mutual respect, noting that inclusion — whether in a collaborator’s “must work with” or “never again” list — is part of an artist’s journey.

“Karangalan kong mapasama sa listahan ng mga gusto at ayaw na makatrabaho sa industriya. Kasi ‘yun lang naman ang mahalaga… nasa listahan ka (It is a privilege to work with people from the industry who I like and don’t. Because that is what is important.. I am part of the list.”