A Review and Reflection on the Evolution of Philippine-Korean Cinema,
By Nash Ang
A Special Invitation and the Echo of 2014
As a filmmaker, you rarely get to see the seeds you planted over a decade ago blossom into a fully-fledged garden. Yet, that was the precise feeling I had as I sat in the cinema for the special advance screening of the new romantic comedy Finding Santos. I was there at the kind invitation of SBTown, and the energy in the room was electric. The buzz from the media, the red-carpet flashes for its stars Jang Theo and Maeg Medina, and the palpable anticipation for this Philippine-Korean collaboration all pointed to a significant cultural moment.
For me, however, this invitation felt less like a simple screening and more like a profound, full-circle event. The year 2014 holds a particular resonance. In 2014, I was deep in production in South Korea, directing a film called Seoul Mates. It was a passion project, an indie film that would, upon its release, be recognized as the first-ever Korean-Filipino feature film.
At that very same time, in that very same year, a parallel journey was beginning in the Philippines. Mr. Geong Seong "Tatang Robin" Han, a man with a deep background in Korean entertainment, was establishing SBTown. This was the company that would patiently build an infrastructure, a rigorous Korean-style training camp, and ultimately produce the global P-pop phenomenon SB19.
In 2014, two paths for Philippine-Korean cultural exchange were being forged simultaneously. Mine was the guerilla, arthouse path, breaking thematic ground with an "unconventional" story. Tatang Robin's was the strategic, industry path, building a system from the ground up to cultivate pop-music talent. Now, over a decade later, these two paths have converged. The industry-builder, SBTown, is co-producing a feature film that is a spiritual successor to the work I began. To be invited by them to witness this next evolution was not just an honor; it felt like a homecoming.
The Review: 'Finding Santos' and the Polish of a New Wave
Watching Finding Santos from my perspective as a director, my first and most striking observation was how tonally assured it is. To put it simply, it feels like a Korean film, not just a Filipino film with a Korean actor. This is a profound compliment.
A Korean Aesthetic on Philippine Soil
Directed by Son Hyeonwoo, the film, which was shot in the Philippines, masterfully avoids the "travelogue" trap that plagues so many cross-cultural productions. It doesn't just show us the Philippines; it feels the story through a distinctly Korean production grammar. The deliberate pacing, the soft, intimate cinematography, the emphasis on quiet emotional moments, and the central theme of "healing" are all hallmarks of a high-quality K-drama.
This, I believe, is the true evolution of our collaborative filmmaking. It's not just about swapping locations; it's about the sophisticated fusion of a production aesthetic with a new setting. It's a sign of a collaboration that goes much deeper than just casting.
A Script That Earns Its Heart
The film's premise is a powerful one. Woojin, played by Single's Inferno star Jang Theo, is a "forgotten" K-pop idol living in isolation. He travels to the Philippines on a deeply personal mission: to fulfill his dying grandmother's wish to find "Santos," a Filipino veteran who saved her life during the Korean War.
This "road movie" pairs him with Gabi, a devoted local fan played by P-pop idol Maeg Medina. The entire film is framed as a commemorative piece, celebrating the 75th anniversary of the Philippine military's participation in the Korean War.
This brings me to my second observation: the script is exceptionally well-made. The screenplay, credited to Park Chorong and Robin Geong, is built on a strong foundation of "right recalls." It sets up its emotional stakes at the start and meticulously picks them up for a satisfying payoff.
The search for the historical Santos is a classic MacGuffin. The true journey is Woojin's internal search for his own "Santos", his peace and redemption. The script's mechanics are subtle but effective. For example, we learn Woojin is "tormented by obsessive stalker fans and malicious online comments," which is the source of his trauma and inability to trust. This is the setup.
The recall happens when he meets Gabi, who is a "longtime fan". His immediate distrust is earned. But the script's payoff is beautiful: Gabi, through her "sincere support and warm care," proves to be the antidote to his trauma, not another reflection of it. This is what allows him to "overcome his trauma and regain his self-esteem". This tight, purposeful screenwriting elevates Finding Santos from a simple rom-com to a well-structured and genuinely moving story about healing.
Forging the Next Cross-Cultural Stars
A film like this rests on the shoulders of its leads, and my third observation was that the actors have the clear potential to be the next generation of beloved, cross-cultural stars in the Philippines.
Jang Theo, already a familiar face to global audiences from Netflix's Single's Inferno, delivers a performance of wonderful vulnerability. He successfully transitions from a reality-show "hunk" to a thoughtful leading man, carrying the "tormented" artist trope with a quiet charisma that will undoubtedly endear him to the Filipino market.
Maeg Medina, in her debut, is a revelation. As a member of SBTown's own P-pop group YGIG, she is the perfect meta-casting for Gabi, the "devoted local fan" who dreams of becoming a singer. She is the heart of the film, and she carries the emotional weight of the Filipino side of the story with an infectious and sincere energy.
A Lesson in Potential
Watching them, I couldn't help but be transported back to 2014, to my own set in Seoul, directing my two leads, Mimi Juareza and Kim Jisoo, in Seoul Mates. This brings me to a crucial point, and a motivational one, for the entire Finding Santos team.
In 2014, my lead actor, Kim Jisoo, was an unknown talent. Seoul Mates was his very first feature film. My film, however, was a pure independent production. It was funded by ABS-CBN's Cinema One Originals and was an "unconventional" rom-com about a Filipino transwoman (the brilliant, award-winning Mimi Juareza) and a Korean musician. We had no commercial release; our life was on the festival circuit.
And yet, the talent was undeniable. As I've said in an interview years ago, "After that project, gained recognition and is now considered an A-lister. I'm glad that as a Filipino, I contributed to his success". Today, Kim Jisoo is indeed a famous, A-list star in Korea and beloved in the Philippines.
Seoul Mates is the proof of concept. It proved that a cross-cultural, non-commercial indie film could serve as a powerful launchpad for a major star, simply because the talent and the story were real.
My message to the Finding Santos team is one of great encouragement. You have what I didn't. You have the full backing of a media powerhouse in SBTown, a built-in audience from the P-pop revolution that SB19 pioneered, and a lead actor who is already a known K-media star. My film was the proof of concept; yours is the acceleration. The potential for your film and your actors to achieve massive commercial success is not just a hope; it's a strategic likelihood.
Cross-Cultural Filmmaking, Then and Now
This screening has put the last decade of my life into perspective. Comparing the journey of Seoul Mates in 2014 with Finding Santos in 2025 reveals just how far we have come in this specific genre of cross-cultural filmmaking.
In 2014, we were charting unknown territory. There was no blueprint for a Philippine-Korean feature film. Our challenges were logistical, filming in South Korea on an indie budget and thematic. We were telling a "gender-bending" story focused on identity and representation, starring a Filipino transwoman. The cultural direction was also reflective of the time: our story was about a Filipino going to Korea in search of love and a new life.
The 2025 landscape, as exemplified by Finding Santos, is a world away. The production is filmed in the Philippines, backed by the full logistical and marketing power of SBTown. The theme is confidently mainstream, a romantic comedy infused with the powerful, unifying story of shared history.
Most importantly, the cultural direction has shifted. This story is about a Korean star coming to the Philippines. He is not just visiting; he is coming here to heal, to find answers, and to reconnect with a history our two nations share. This reflects a new, powerful dynamic. The Philippines is no longer just a passionate consumer of Hallyu; we are now a vital collaborator and a destination for Korean talent and storytelling.
The Full Circle
I want to extend my deepest gratitude to SBTown and Tatang Robin for the invitation. Witnessing Finding Santos was, for me, a profoundly validating experience.
The "Two Paths of 2014" have finally merged. SBTown's phenomenal success with SB19 proved that the "industry" path, the rigorous, systematic cultivation of talent could conquer the global music scene. Now, with Finding Santos, they are applying that same Midas touch, that same dedication to quality and polish, to the world of cinema.
This film is not just a lovely romantic comedy. It's not just a touching commemoration of a 75-year-old friendship. It is a milestone. It is the commercial and spiritual successor to a journey that began over a decade ago. Finding Santos has the heart, the polish, and the strategic backing to be the massive commercial success that Seoul Mates was never designed to be but which it helped make possible.
I am proud to see the torch I lit in 2014 being carried forward so brightly. Finding Santos is not just a film to watch; it's a milestone to be celebrated.
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