"Mark, will you stop acting like I am still your girlfriend? Like I am still part of your family?"

Adolfo Borinaga Alix Jr. has been quite prolific in recent years, delivering a series of movies that vary in quality. Some are quite strong, others more uneven. His latest project, “The Fan”, belongs to the stronger category. For his next work, he shifts to a completely different narrative, focusing on the romantic relationship between a woman and a trans man.

Anna, a progressive social media manager, retreats to Siargao to escape the moral conflict of helping her ex’s corrupt father win a Senate seat. While there, she spends time with her flirty, bisexual friend Uly. One night, Uly abandons her for a Western woman and returns completely drunk. As Anna helps him recover, she meets Greg, a kindhearted local who cares for his mother, a woman suffering from Alzheimer’s who often mistakes him for someone named Regina. Greg’s frustration is visible, but it slowly becomes clear that his mother is not as confused as she seems. When Anna realizes she is developing feelings for Greg, and learns he is a trans man, she is forced to examine her ideas about love and identity. Greg, in turn, must confront unresolved issues within his family and himself.

The first thing one may notice is that Rhian Ramos, who plays Anna, is strikingly beautiful, and the director, cinematographer, and costume designer do not miss a chance to emphasize that. She is seen in different outfits in nearly every scene, all of which enhance her appearance. The same approach applies to Allen Dizon, who plays Greg, although in a more subdued manner.

Beyond these stylistic choices and a visual style that occasionally resembles television aesthetics, the story contains surprising depth. It addresses topics such as the desire of many locals, particularly women, to marry foreigners as a means of escape, and the pervasive role of social media in shaping relationships and political discourse in the Philippines. Anna’s personal dilemma about working for a corrupt political figure adds another layer of thematic relevance.

The core of the story, however, lies in the revelation of Greg’s identity, which Alix explores from both characters’ perspectives. Greg is hesitant to be fully transparent, aware of the discomfort and stigma often associated with trans people and their romantic relationships. From Anna’s side, the question is whether she can overcome her own biases and focus solely on her feelings. Adding to the complexity is the issue of geography: should their relationship progress, they must also decide where to continue it, as they live in different cities. All questions are actually introduced at just the right moment in the narrative, enhancing the emotional tension and leading to a satisfying finale.

The presentation of Siargao occasionally feels promotional, but the island’s tropical beauty, captured in a 4:3 aspect ratio by DP Rain Yamson II, is undeniably one of the most visually striking aspects of the movie. From bungalows to beaches to forests, the cinematography creates an immersive sense of place. Lastly, the revelation scene is quite powerful in its subtle graphicality

The editing maintains a mid-tempo rhythm that matches the tone of the story, though there is some narrative lag toward the end. Nevertheless, the sequencing of the different arcs is well-managed, and the overall result is engaging.

“Unconditional” may at times resemble a polished TV drama or promotional work and there are some scenes in the end that could have been handled better or avoided, but it ultimately emerges as a thoughtful and competent romantic drama. It stands out not only due to the charisma of its leads but also for the thematic richness and emotional honesty that keep it engaging from start to finish.