‘UNMARRY’ ASKS the Question: When does separation liberate?
One burdened by abuse, another by guilt—two spouses find themselves in their respective annulment cases. While they have different wishes on what decision will be laid by the gavel, both are nonetheless seeking an emancipating culmination.
Directed by FAMAS and Urian laureate Jeffrey Jeturian, Unmarry premiered on Dec. 25 alongside seven other films as part of the 2025 Metro Manila Film Festival wherein Jeturian won his first MMFF Best Director Award. The film also won its Best Screenplay award through Chris Martinez and Therese Cayaba.
Unmarry follows an ill-treated wife seeking to regain autonomy over herself and a struggling husband on his last chance to keep his family together. The roads of Celine (Angelica Panganiban) and Ivan (Zanjoe Marudo), both parties in annulment cases, cross at the law firm of Jackie Lombridas (Eugene Domingo), host of online legal show Walang Butas Ang Batas.
Celine seeks to be annulled from her husband, Stephen (Tom Rodriguez), citing abusive treatment and identity erosion caused by body-shaming and dismissal of her thoughts. Ivan is the defendant in the nullification suit filed by his wife, Maya (Solenn Heussaff), who cited as grounds his alcoholism and inability to provide financially.
Stephen, upon learning his wife’s desire for annulment, makes her life difficult by stripping her of financial access and business ownership. As the annulment proper goes on, Celine and Ivan develop a bond that further worsens their already complicated romantic affairs.
Panganiban brought a performance that reminded viewers of her return to the big screen. She excellently showed the emotional complexity of Celine, delivering piercing dialogues against detractors, evoking calm strength in front of her children, and showing vulnerability facing Ivan and her mom.
Meanwhile, Marudo wore Ivan’s humility and brokenness, but never relinquished his pride. Stephen’s character was not tackled long enough to show why he seemed to solely exist to make Celine’s life difficult, as opposed to Ivan, who was given a concise backstory.
Despite the lack of rationalization behind the character’s behavior, Rodriguez’s performance of a rage-baiting character bagged him the Best Supporting Actor award for this year’s festival. Meanwhile, Heussaff was masterful in expressing both fortitude and agony in silence.
Despite playing a supporting role, Domingo created tiny spectacles showcasing her theatrical prowess through dramatic yet chucklesome monologues and effective audience engagement. Ivan and Maya’s teenage son Elio (Zach Sibug), showed the emotional distress harbored by children caught in between warring parents, which earned him a Breakthrough Performance distinction.
Unmarry was entertaining, finding room for jokes even as emotions run high. The film follows a format of using the story of Celine and Ivan as an avenue in explaining Lombridas’ topics in her show, making it an informative tool for annulment. Despite that, the film retains much of its substance even with the comedic aspect ditched.
The film convincingly justified the course of action that the characters took in their lawsuit, but it also could have been an opportunity to discuss the outcomes of their cases with regard to custody, asset division and appraisal of industrial business partnership and to introduce legal drama to a wider audience. This would also give a more fulfilling closure for the children in the film.
It is satisfying to see the characters take the most rational decisions in the face of impulses caused by their raging feelings, but as the most aggrieved among the parties, the kids at the end of their parents’ lawsuits deserve to be shown to the audience.
The atmosphere remained stable throughout the film despite the coexistence of drama and comedy, opting for cautious lighting instead of one that hastily adjusts with the story’s mood changes. It did not hinder the stirring of emotions and instead highlighted that the events are true to life. The music for the sentimental scenes and effects for the comical ones were subtle and seldom, letting silence be the most moving melody.
This restraint in editing brought the film the Best Editing award through editor Benjo Ferrer.
Unmarry featured the coexistence of pain and desire for reconciliation. The comedic backdrop made the viewing experience enjoyable, but a more focused storyline could have provided a more comprehensive resolution.
The film demonstrated the different possibilities for liberty in a relationship that manifest in acceptance, forgiveness and choice. F
