Sunshine

The heroine is a young girl whose decision to abort is ultimately portrayed as a path to valid self actualization, supported by friends and family who simply “understand.”  (This review was first published in December 2025 in medium.com/cbcpcinema)

Technical assessment: 3.5

Moral assessment: 2

MTRCB rating: R-13

CINEMA rating: V16 

Sunshine (Maris Racal) is a talented gymnast dedicated in training for a shot at the Olympics. However, just two months before the crucial qualifiers, her dreams are threatened when she discovers she is pregnant. Her boyfriend (Elijah Canlas) initially rejects the pregnancy, pushing her toward desperate measures. Although he eventually offers support, Sunshine attempts to abort the baby but fails, resulting in her being rushed to the hospital and her condition discovered by her elder sister. The narrative complicates her journey with the presence of a "little girl"—a mysterious figure who reprimands and follows her throughout the film, acting as a manifestation of her conscience. Simultaneously, Sunshine crosses paths with a 13-year-old rape victim seeking help to terminate an unwanted pregnancy, a subplot that ends in complications. Despite the offer of support from her boyfriend and his father, Sunshine remains steadfast in her refusal to become a mother. In a heart-wrenching soliloquy performed while the “child” watches, she tearfully bids goodbye, claiming the child understands her mother’s dream. The film concludes with Sunshine stepping onto the mat, ready to perform her routine, having chosen her ambition over her child. 

The movie is notably well-written and well-paced, effectively building tension as the qualifiers approach and Sunshine wrestles with her moral dilemma. The performances are believable and relatable, grounding the high-stakes drama in human emotion. What is most commendable is the film’s editing. While Racal is no gymnast, the seamlessness of the cuts convinces the audience that she is executing the difficult routines herself. The technical team succeeds in merging the actor's performance with the physical demands of the role, ensuring the suspension of disbelief remains intact throughout the film. 

The initial reactions and confusion of Sunshine are understandable; she is young, determined, and suddenly facing a derailment of her life's ambition. The film utilizes the element of the unborn child—personified as the little girl—to externalize Sunshine's inner struggle. This creative choice allows the audience to see that, in her heart, she understands the gravity of her dilemma. However, the film’s handling of the pro-life argument leaves much to be desired. While the narrative briefly acknowledges that aborting a child deprives the community of a future productive member of society, this sentiment is delivered by a doctor portrayed as self-righteous and dismissive. By placing this truth in the mouth of an unlikable character, the film cheapens the argument for keeping the child, framing the defense of life as judgmental rather than compassionate or logical. 

The film presents a dangerous reference and model for our own youth. The heroine is a young girl whose decision to abort is ultimately portrayed as a path to valid self actualization, supported by friends and family who simply “understand.” This is particularly alarming given that the lead actress has a significant following among young people. By normalizing this choice and wrapping it in a package of “dream-chasing” and family support, the film risks influencing an impressionable audience to view the termination of life as an acceptable solution to personal hurdles. 

Ultimately, the film's resolution is deeply disturbing. While it posits Sunshine's final decision as a form of women’s empowerment—championing the idea that she has sole agency because it is “her body, her life”—this conclusion is morally unacceptable. It ignores the fundamental reality that it is no longer just her body involved; there is a distinct, separate life at stake. Setting aside the lens of faith, the movie treats the unborn child not as a human being with inherent dignity, but as an obstacle to be discarded for personal success. True empowerment cannot be built on the termination of the innocent. Perhaps, there is no other way to present this without proselytizing—hence, it is better that the audience be limited to mature adults with well-formed conscience. 

DIRECTOR: Antoinette Jadaone LEAD CAST: Maris Racal, Elijah Canlas, Jennica Garcia, Meryll Soriano SCREENPLAY: Antoinette Jadaone PRODUCED BY: Project 8 Projects, Spring Films CINEMATOGRAPHY: Tey Clamor EDITING: Benjamin Tolentino GENRE: Drama COUNTRY: Philippines DISTRIBUTED BY: NetflixRUNNING TIME: 118 minutes