Sundance Review: “Filipiñana”

Filipiñana (Rafael Manuel, 2026) 4½ out of 5 stars

Between the exquisite cinematography and beautifully restrained performances, it’s hard to choose exactly what makes Filipiñana so special. A deceptively gentle examination of social-class hierarchies and wealth disparities, the film turns into a sharp-edged critique of both by the end, without ever losing its outward calm. If this is how revolution starts, we’ll never see it coming. And that’s for the best

Isabel (Jorrybell Agoto) is a 17-year-old girl just hired an exclusive golf resort in the Philippines to work as a “tee girl,” placing balls on the ground for wealthy golfers in the driving range. She is Ilocano, a member of an indigenous ethnic group from the north of the main island. With mostly a flat affect that masks her inner state—matching the emotional remove of the narrative—she observes the perfectly manicured grounds around her, far different than whence she hails.

Another outsider is Clara (Carmen Castellanos), visiting from America, whose sleazy uncle, Renato (Carlos Siguion-Reyna), hopes to convince her to move back home and work for him at his golfing company. She notes, also with little external reaction, the significant differences between the United States and her native country. The former is far from perfect, but at least on this golf course, where female caddies do the hard labor, the legacy of colonial stratification is more extremely pronounced.

The primary clientele is either rich locals or Chinese tourists (who, interestingly, refuse the help of the tee girls). The club’s president, Dr. Palanca (Teroy Guzman)—also Ilocano—rules over his kingdom with a seemingly benevolent hand that, when scrutinized more closely, is anything but. There’s a reason why his caddy, rumored to also be his mistress, asks Isabel to return his missing driver rather than doing it herself.

With careful, languorous precision, Manuel and his talented cinematographer, Xenia Patricia (Zodiac Killer Project), build a finely textured drama—shot in the classical, more claustrophobic Academy aspect ratio of 4:3—where everyone has a specific, proscribed role to play. At least until they break the mold. The slowness of the plot and seeming inconsequence of the dialogue hide deep truths not only about the golf course, but the larger universe.

Also, if you like mangoes, then Filipiñana holds additional pleasures. Whether it’s the fruit itself or the magnificent tree that produces its golden magic, the mango serves as an aesthetic marker and metaphor of sorts. Even when the skin is bruised, what lies within still delights and nourishes.

Isabel may appear ordinary and of no significance to those above her but is therefore the perfect guide into the horrors of caste. Survive or die; nothing matters but money and power. This paradise on Earth can be a hell to live in.

[Filipiñana just premiered at the 2026 Sundance Film Festival.]