"Everyone Knows Every Juan" [2025]

Film

Edu Manzano, Joel Torre, Gina Alajar

Alessandra de Rossi, JM de Guzman

Ronnie Lazaro, Ruby Ruiz, Angeli Bayani

Written by: Alessandra de Rossi, Carlo Catu

Directed by: Alessandra de Rossi

Viva Films, A World of Our Own

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RATING: ⭐⭐.5 / 5

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NO SPOILERS

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SYNOPSIS:

The Sevilla siblings reunite at their ancestral home a year after the passing of their matriarch. What begins as an obligatory gathering quickly spirals into a storm of revelations, grudges, and laughter, exposing the fragile ties that bind them. [Source: ClicktheCity.com]

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STORY:

To be honest, I entered the theater with a bit of apprehension. I’ve been disappointed before by films that boast big names and established an expectation of grandeur, only to end up me feeling disappointed. Unfortunately, this movie wasn’t much different.

At first hand, the trailer looked promising. It was said that what makes this movie different is that it was shot in a one continuous shot from start to finish which made me a bit curious and excited. Also, it has a star-studded cast filled with industry legends, hinting at something special. But as the film slowly unfolded, it felt like some actor's talents and skills wasn’t fully utilized.

The story itself was chaotic, too many subplots, too many conflicts. At some point, I wasn’t even sure what was happening anymore. I’ve seen films that manage to juggle multiple storylines effectively, but this one struggled to return to its main thread.

The core plot is actually quite simple: siblings gather after their mother’s passing to discuss their inheritance, only to discover that everything will go to their mother’s gardener which, of course, sparks chaos. It’s a familiar premise, reminiscent of Knives Out, but this time with a comedic twist.

As the credits rolled out, I couldn’t help but wonder if the confusion was intentional — a creative choice, perhaps? But since there’s no confirmation of that anywhere, I’ll take it as it is: a story that tried to do too much and lost its footing along the way.

CHARACTERS:

No complaints about the cast itself, after all, these are veterans of the industry. Seeing them all together was a treat, and as Kelvin Miranda and JM de Guzman mentioned, it must’ve been a dream to work alongside such icons.

My standout was Ruby Ruiz (as Josie), who delivered a believable and relatable performance. She reminded me of some of my mother’s neighbors with the way she talks and sometimes uses vulgar words

Joel Torre (as Roel) and Edu Manzano (as Tupe) also stood out. Edu’s deadpan humor as the insecure eldest sibling brought genuine laughs, while Joel’s emotional moments hit the right notes. Even when the camera wa sn’t focused on him, his presence was felt.

Gina Alajar (as Rose), however, was a bit of a miss for me. Her initial entrance had great energy, but as scenes went on, her consistently high-pitched tone became tiring. Maybe that was intentional for her character. If so, she nailed it.

If I were given the chance to add to her character, I’d make her more connected to the pressing issues our country faces today. Since she’s running for councilor, referencing some current events or social concerns could make her character not only funnier but also more relevant and timely.

Ronnie Lazaro’s (as Ramil) character felt underdeveloped. His performance wasn’t bad, but it lacked dimension. He had one good moment, then faded into the background. I wish he’d been given more screen time.

Alessandra de Rossi (Raquel), who also directed the film, was the one I had high expectations for. Since the film was her concept and her second directorial project, I thought her performance would carry more emotional weight. But her portrayal felt subdued. Her character as a frustrated lawyer could’ve had more depth and comedic quirks, like subtle references to legal jargon or courtroom habits. It just didn’t come through as strongly as I hoped. It might be because as a director, she's concerned with what the movie's output will look like.

JM de Guzman (as Alfred), as always, was consistent and believable. His acting has been solid since Angelito: Ang Batang Ama. While Angeli Bayani (as Anna) also impressed me, her range is remarkable, going from playing Doña Maria Agoncillo, wife of Emilio Aguinaldo in Quezon to being a quirky house helper here. Her range really showed on these transitions which what she learned from being a theater actress all these years.

As for Kelvin Miranda (as Jacob) I haven’t seen his previous works, but his performance here was decent. I expected a bigger twist involving his character, but he mostly served as the grounding element amid the chaos. It felt a little forced, though.

CINEMATOGRAPHY:

As what was previously mentioned, the film was marketed as a “one-take movie,” meaning the entire story unfolds in one continuous shot, no cuts, just seamless transitions. That concept alone is impressive and adds a sense of realism, like you’re witnessing the events as they happen.

The location was well-chosen: spacious, detailed, and fitting for the story’s tone. I can imagine how challenging it was to coordinate everything like actors hitting marks, camera angles perfectly timed, but it was executed well.

One particular scene that I want to highlight is that there’s a particular transition from present to past that was especially clever, blending smoothly without breaking the illusion of a single take.

TECHNICAL:

Although it was marketed as a “one-take film,” Alessandra de Rossi clarified that it wasn’t entirely so, the day scenes were done in one take, and the night scenes were shot separately. They repeated the day scenes a few times to perfect them, then resumed filming for the night senes.

Honestly, it didn’t matter. The transitions were so smooth that if I hadn’t known this, I would’ve assumed it was all shot in one go.

On the other hand, there were some scenes that there was lack of proper lighting. The characters in the scene were talking but I can't capture their faces.

CRITICISMS:

For me, the story really needed a stronger structure. Chaos in storytelling can work — but it still needs direction and purpose. Here, the film often lost sight of its main narrative which is indeed a letdown.

Some jokes landed, but many were predictable. You could see the punchlines coming from a mile away. And the overuse of that famous “Maricel Soriano line”? Definitely overdone.

There were also a few “big revelations” toward the end that felt like they’d change everything but they fizzled out just as quickly, leaving me wondering what the point was.

LESSON:

If there’s one takeaway from this film, it’s that no matter how much time passes, family remains. Despite the arguments and chaos, siblings will always be there for one another in the end.

CONCLUSION:

It’s rare to see a Filipino film featuring such a powerhouse ensemble cast, and for that alone, it’s worth appreciating. Fans of local cinema will likely enjoy the nostalgia of seeing these legends together on screen.

While the story suffers from narrative confusion and underdeveloped humor, it still managed to make me laugh a few times. If you’re not expecting too much and just want something to pass the time, this film is still worth a watch.

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https://www.youtube.com/watch?v=4ad9klBymLI