Glad to have seen a few of the MMFF entries this year this early. My second stop was Call Me Mother by Star Cinema. And I am glad that there’s a family drama again in this festival that tackles love for Mother. This film stars Vice Ganda and Nadine Lustre. The story follows Twinkle (Vice Ganda), who has spent years building a beautiful life for her son, Angelo, as a devoted queer single mom. But just as their family is about to become “official” through adoption, his biological mother, Mara (Nadine Lustre), reappears with her own dreams of motherhood. What follows is a moving tug-of-war that asks a powerful question: is a mother the one who gives life or the one who stays to raise it?
This is actually the kind of entry that I want to see every MMFF. The film opens with lighthearted comedic timing that masks the underlying tension, but as it moves towards the end, the tone shifts into a deeply serious and emotional drama. While the main conflict is established early on, the film’s bravery lies in its willingness to navigate such a complex resolution. I liked how it tackles a difficult but necessary conversation with maturity, and ultimately, the film succeeds in its intention.
This movie actually reminds me of a classic Filipino drama, capturing the same raw family conflict that made Olivia Lamasan’s Maalaala Mo Kaya a 1994 landmark. But here, Call Me Mother, through the lens of Direk Jun Robles Lana, modernizes the narrative, proving that the essence of motherhood is a universal language that transcends time.
There is a specific kind of ache that only a mother’s love can produce—a mixture of fierce protection and the quiet agony of letting go. Star Cinema’s Call Me Mother doesn’t just tap into that ache; it lives inside it. It’s more like a collective healing session for anyone who has ever known the weight of a parent’s sacrifice.
Vice Ganda, known for her comedic timing, sheds every layer of her “Unkabogable” persona to reveal a vulnerable, raw, and deeply believable dramatic core. Her performance hits every nerve. What makes Vice truly remarkable here is her generosity. In a role that could easily have been a solo showcase, it’s obvious that she steps back to let her co-stars shine, creating a beautiful synergy that elevates the entire production.
Nadine Lustre continues to prove why she is the “edge” of the Film Festival. I have always loved her magnetic charm, carrying herself with the poise of a beauty queen as her role demands, yet never losing the grit that makes her acting so grounded. Her presence provides a perfect foil to Vice’s emotional intensity.
Then there is young Lucas as Angelo. The child actor delivers an unmatched performance that is, quite frankly, devastating. Every time he cries, the audience feels a sharp, visceral pain—the kind of trauma no child should ever have to endure, yet many do. His innocence is the heartbeat of the film.
The supporting cast provides the necessary breath of fresh air. John Lapus is exemplary, delivering a performance that is both sharp and soulful. She indeed mothered here. PBB Alumni Mika, Brent, Klarisse, Shuvee, and Esnyr act as the perfect emotional anchors, providing the laughter we desperately need to survive the film’s heavier moments. Also, River Joseph’s role is very fitting with Nadine!
The film’s soul lies in its definition of sacrifice. It boldly declares that motherhood is not defined by gender, distance, or age. Beautiful script that tells us that it is a choice—a relentless, often thankless decision to put another human being’s needs above your own. One last thing, it is about second chances.
There’s another story arc that I would have wanted to explore more—about that wound by Twinkle, but I might be spoiling some here, so I will leave that to the audience for you to see.
I am still amazed by how it ended. As I have said earlier, the story transitions into its powerful Act 3, and the layers of “truth” begin to unfold. This is where Jun Robles Lana’s brilliance shines brightest. He gives us, the audience, the unveiling and resolving of conflict with such precision that the eventual climax feels both surprising and inevitable. It is a reminder that the biggest sacrifices are often the ones made in secret, hidden away to protect the people we love. Call Me Mother is a triumph. It is a painful, beautiful, and authentic tribute to the people who raise us. It proves that Vice Ganda still has the power to surprise us and that Star Cinema still knows exactly how to make us laugh, cry—and heal—all at once.
As all of you obviously know, they shot some scenes in Disneyland. There’s one particular framing there that still haunts me. It is when Twinkle and Mara and Angelo are in the last frame, yet it shows how Twinkle’s expression is hurting, yet accepting. It is one truly moving scene and frame. Makes me want to hug Twinkle.
Kudos to Star Cinema. You did it again! Call Me Mother opens in cinemas December 25, 2025, nationwide.
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