After his success during the 2018 Metro Manila Film Festival (MMFF), Joel Lamangan had audiences looking forward to his newest production. Sadly, Isa Pang Bahaghari’s earnest attempt to tell multiple meaningful stories is dragged down by clumsy writing and a lack of thematic focus.

Lamangan’s melodrama kicks off when former seaman Dom (Philip Salvador) returns to the Philippines and enlists the help of his gay best friend Rhey (Michael de Mesa) to reconnect with his family. Long presumed dead, Dom is instantly met with hostility from his wife Lumen (Nora Aunor) and his three grown children.

The ensemble cast is what truly elevates this film from the rest. With its mix of seasoned veterans and promising young stars, the film provides a gripping portrayal of an otherwise cookie-cutter Filipino family drama. Aunor’s masterful depiction of Lumen’s pain, anger and confusion, coupled with Salvador’s portrayal of the desperate yet optimistic Dom gives the story so much heart. De Mesa’s performance is a balance of entertaining and genuine, adding nuance to his stereotypical gay character. Sanya Lopez holds her own amidst her more experienced castmates through her passionate portrayal of the family’s bunso, Dolly, who is a cynical single mother.

With most of its scenes shot in an indigent coastal town, the film boasts some beautiful bits of cinematography. However, some unique creative choices such as exaggerated transitions and sound effects, selective color filters, and repetitive cinematic shots work against the film.

Despite its genuine intention of tackling meaningful Filipino values (family and friendship) and exploring relevant social themes (poverty and LGBTQ+ issues), the film simply tries to do too much. From its lengthy exposition to multiple subplots, it becomes hard to pinpoint its central message. A great part of the story is devoted to establishing the conflicts between the family but reconciliations are rushed and abrupt, dampening the emotional impact of resolutions. Due to inconsistent pacing and the need to quickly tie up loose ends, character arcs take unexpected turns and heartwarming scenes don’t feel well-earned.

Sadly, Lamangan’s attempt to bring a unique queer narrative to life ultimately falls flat. The story is toned down by problematic portrayals of sensitive issues like sexual assult, as well as the use of LGBTQ+ characters as plot devices for cisgender relationships. It uses every Filipino tear-jerker trope in the book, and explicitly uses Rhey’s “baklang martir” character to spice up a conventional family drama. While the film’s ending is definitely touching, it treads the fine line between a moving conclusion and cheap shock.

Despite its flaws, it’s hard to discredit Isa Pang Bahaghari’s success as a family melodrama. All in all, while the film is ambitious in its depiction of the different forms of love, it tells an important story: One of friendship and forgiveness that never gets old.