Brillante Mendoza is the only director whose filmography I have consistently followed. In the late 2000s, the Cannes-winning director produced films that thrilled me with their cinéma vérité style, sharp social commentary, and stark realism about the country’s ills.

He is, of course, globally acclaimed, but like many artists, he has wanted his own country to embrace his work. That desire, in my view, led him to explore different genres, trying to remain true to his artistic identity while incorporating more mainstream elements for commercial viability. It is not easy when one’s strength lies in arthouse cinema yet there is also a pull toward wider audiences.

For a time, he returned to erotica during his Vivamax phase, experimented with horror (Sapi, Bahay na Pula), and ventured into action-thriller with his Netflix film Red, all while retaining his naturalistic, unscripted, procedural style. He often inserts symbolic imagery, including recurring animals such as his favorite snake.

In his latest film, Until She Remembers (out 25 February in local cinemas), Mendoza achieves a more balanced blend of indie sensibility and mainstream accessibility. He keeps his naturalistic exchanges through an unscripted dialogue approach, supported by a restrained yet emotional musical score. With bankable star Barbie Forteza in a central role, alongside veteran actresses Charo Santos-Concio and Boots Anson Roa-Rodrigo, the film even gains broader appeal.

The story follows an emotionally neglected young woman, Angel (Forteza), who chooses to stay with her grandmother, Concha (Santos-Concio). After learning about Concha’s youth and her tragic love story, Angel arranges a reunion by bringing home Concha’s great love, Catherine (Roa-Rodrigo), now living with dementia.

Mendoza’s method relies heavily on improvisation, making the casting of capable and instinctive actors essential. Without fully scripted dialogue, the performers carry scenes with natural rhythm. It is refreshing to see Forteza in this setting, where conversational realism creates the sense that the camera is simply observing, strengthening the authenticity of the emotions and relationships.

The cast delivers strong work. Roa-Rodrigo gives a convincing portrayal of Catherine’s Alzheimer’s, while Santos-Concio is terrific as Concha. Since her pairing with Dingdong Dantes in Only We Know last year, Santos-Concio continues to display highly impressive ease and control in her performances, here embodying a woman past her prime who is finally given the chance to reunite with her one great love.

Mendoza maintains consistency in tone and pacing. He continues to employ symbolism, particularly the recurring image of birds, also reflected in the poster. In literature, birds are often associated with longing, exile, and the soul, imagery that aligns with the film’s use of Pablo Neruda, one of Latin America’s most influential poets of the 20th century. The film also uses Neruda’s 1924 poem Tonight I Can Write (The Saddest Lines), which speaks of lost love, memory, absence, and longing, themes that mirror the narrative. 

The cinematography is intimate; frequently uses soft, diffused natural light, reinforcing the film’s reflective tone. There are also breathtaking visual compositions, including silhouettes against windows and the image of a white lace veil before a mirror.

Though at times it becomes overly expository, it is overall a delicate, affecting film. There are flashbacks to young Concha and Catherine (Bianca Kierulff and Angel Latorre), but they do not disrupt the flow. In this case, they serve the film by portraying youthful love alongside present-day decline, intensifying the emotional arc through contrast.

Until She Remembers is Mendoza’s most cohesive work in years. Its pacing, cinematography, and music work in harmony, sustaining its emotional journey. Best seen on the big screen.

4 out of 5 stars

In cinemas on 25 February