UST alumni Nigel Santos and Keavy Vicente bring nuance to queer women’s storytelling in “Open Endings,” an honest take on the messiness of friendships built from past intimacy.
The film focuses on four queer women best friends in their 30s who all dated each other at one point in their lives. Bound by years of companionship, one revelation disrupts their peace and forces them to confront the blurred boundaries that connect them.
Mihan (Leanne Mamonong) is at the film’s center, with her avoidant nature and commitment issues taking much of the narrative, while Charlie (Janella Salvador) counters her with a strong yet humorous personality. Hannah (Jasmine Curtis-Smith), who embodies soft and quiet femininity, serves as the film’s directional turning point. Kit (Klea Pineda) grounds the story with her self-awareness, though most of the time is sidelined in the film.
“Open Endings” starts with the explanation of their tangled past and of how their shared history weaved their “ride-or-die” friendship. The storytelling leans into emotional subtlety, letting the 110-minute runtime capture the depth of their bonds and zooming in on how each one wrestles with their decisions and mistakes.
While much of the film relies heavily on natural and intimate dialogue, the use of hand-held camerawork effectively draws the audience into each scene. The lingering gazes, the tension, and the slow burn between the four women add to the emotional push-and-pull.
The climax builds up to a tense confrontation between the characters, a moment somewhat inevitable and long anticipated. Rather than romanticizing the drama, the film lets the audience understand the women better through their vulnerability and frustrations. There are no real antagonists in the film, only women who are flawed and at times toxic.
Despite the strong performances and chemistry of the cast, the film is not without its weak points. Tighter pacing could have benefited the film more, and with four lead characters, it struggles to give each of their story arcs equal weight.
Still, Santos and Vicente were able to perform the queer representation they wanted to achieve. The film diverts from the worn-out formula of sapphic movies in queer cinema that battle with harmful tropes, societal stigma, or religious guilt. It delves deeper into the complexities within the community, which allows its characters to be messy, make mistakes, and be truly human.
True to its title, “Open Endings” closes without clear resolutions and chooses to end boldly open. While some may see the lack of closure as frustrating, it becomes the film’s strongest choice. It lets the audience linger on the ambiguity and reinforces the message that relationships, in all their forms, rarely offer clean conclusions.
Written by journalism graduate Keavy Vicente and directed by literature alumna Nigel Santos, “Open Endings” stands out as a refreshing addition to contemporary queer cinema and a warm entry to this year’s Cinemalaya.
