If there is one person who has successfully soundtracked, scripted, and directed the collective heartbreak of the Filipino millennial and Gen Z, it is Antoinette Jadaone. For years, she has been the undisputed queen of the modern Filipino romantic comedy, serving us lines that cut deep and characters that feel like our own barkada.
Today, Jadaone is more than just the reigning queen of the Filipino rom-com. She is a powerhouse podcaster, a fierce advocate for regional storytelling, and a director acutely aware of the weight her medium carries.
We sat down with the filmmaker for Metroscene Mag’s February 2026 Cover: Let Them Talk to discuss her creative evolution, the stifling reality of local censorship, and why true art will always outlive its creator.
The Story Stars here
There is a distinct heartbeat to an Antoinette Jadaone film. Early on, that pulse was intensely personal. Driven by the eager energy of a young filmmaker, her iconic rom-coms—like That Thing Called Tadhana and Alone/Together—felt like confessional diary entries exploring the messy reality of millennial heartbreak.
“Nag-start ako bilang bata, so sobrang eager pa sa mga bagay-bagay... Yung mga romcoms ko dati ay mostly always personal story.”
But as her filmography grew, so did her lens. Stepping back from autobiographical romance, Jadaone began exploring the broader, often darker realities of womanhood.
“…Dahil ang dami ko na nagawa ng mga romcoms, parang lumayo na ako dun sa personal experience ko. Mas nakikita ko na yung kwento ng ibang babae outside dun sa alam kong mga kwento ng pag-ibig.”
This shift was loud and clear in Fan Girl, which violently dismantled the romanticized male gaze to expose the toxic underbelly of celebrity obsession. Then came Sunshine, which traded romance for a fierce fight over bodily autonomy and ambition. If her earlier films asked, “Will she be loved?” her recent work boldly asks, “Will she choose herself?”
Through every era, her golden rule remains untouched:
“Kahit rom-com pa or coming of age... it will always be the woman's story at the front and center.”
Today, the urgency to prove herself has softened into a sharper, more laid-back mastery. By widening her gaze, Jadaone ensures that the women on her screen aren't just accessories to a plot—they are the unapologetic authors of their own becoming.
From personal pursuits to what we might call the universal woman, her journey reflects a widening lens: from “my story” to “our stories.”
Decentralizing the Filipino Narrative
When asked about the stories missing from the current cinematic landscape, Jadaone is quick to point out the industry's Metro Manila-centric bias. The default for mainstream cinema remains urban, Tagalog, or English, leaving a massive void for regional voices.
"Pag iba yung language mo, like Waray, Ilonggo, Ilocano, syempre kumukonti supposedly yung audience. Yun yung tingin ng producers or tingin natin in general," she observes. "Pero di pa kasi natin nasusubukan na magkaroon talaga ng isang nationwide release for a full-length film na regional yung kwento tapos regional din yung language na ginamit."
Beyond geographical representation, Jadaone voices her frustration over the cultural resistance toward political films in the Philippines. She highlights the heavy hand of the MTRCB and the inherent fear it instills in storytellers who want to tackle pressing social issues.
"Political, medyo mahirap talaga siyang ipalabas sa Pilipinas. Una, may censorship tayo. Yung MTRCB, ang dami ng mga pelikula at mga documentaries na hindi natin napapalabas ng buo... Tapos bukod pa doon, yung fear pa rin ng filmmakers na ilabas yung very political films kasi meron agad groups na sasabihin na dapat hindi ito pinapalabas."
She delivers a sobering warning about the consequences of playing it safe: "Parang kung papalabas na lang natin ay laging romcom at horror, paano uunlad yung pagtingin natin? Parang paurong nga tayo sa mga issue, totoo."
A Promise to the Ka-Emes
In an era of fleeting information, Antoinette Jadaone and co-host JP Habac have turned Ang Walang Kwentang Podcast (AWKP) into a digital sanctuary. While masked in humor, the podcast tackles everything from LGBTQ+ Pride to political accountability—not as passing trends, but as sustained, evolving conversations.
What began as casual “asikaso at chikahan” has grown into something far bigger. The Ka-Emes—their fiercely loyal listener base—expanded organically, recently pushing the podcast past 100,000 subscribers on YouTube, a milestone that underscores how deeply the show resonates across generations.
But with growth came clarity. The scale of their audience forced a realization: this is no longer just banter between friends. It is influence. It is responsibility.
“Dahil sa nature ng podcasting, nakaka-create ito ng social relationships between the listeners and the podcasters,” Jadaone explains. “Hindi na pwedeng ‘pwede na ’yan’ o ‘eme na ’yan.’… Ituturing namin ang bawat episode gaya ng pag-aalaga namin sa aming mga pelikula. Mula recording hanggang edit, re-edit, at pag-release ng art cards, ituturing namin itong ‘baby’ namin.”
Podcasting creates intimacy in a way few platforms can. Listeners tune in alone—on commutes, late at night, during quiet hours—and begin to feel as if they are part of the room. That closeness transforms humor into trust.
And trust, for Jadaone, cannot be taken lightly. Even with the laughter, every episode of AWKP is handled with the same rigor as their films—carefully shaped, thoughtfully edited, and released with intention. The comedy may be effortless, but the responsibility behind it is deliberate.
The Story Continues
If Jadaone could broadcast one message, it wouldn't be a mandate to her fellow filmmakers to change their stories. Instead, it is a call to action for the audience to shed their colonial mentality and fiercely embrace Filipino art.
For her peers behind the camera, however, she passes down a humbling piece of wisdom she learned from her own mentors: You are not bigger than your film.
"Hindi lang siya basta, 'This is my art, this is my film.' The generations after you will see it. Minsan magiging invisible ka na as a filmmaker, pero 'pag napanood nila, 'yung kwento at kung gaano sila naapektuhan ang mas maalala nila... manliliit ka talaga. Huhusayan mo talaga at ibibigay mo ang lahat... kasi mamatay ka na pero matitira 'yun. At 'yung pelikula na 'yun, dala-dala niya 'yung puso na meron ka kahit matagal ka nang wala."
#MetrosceneMagCoverStories | February 2026 COVER: LET THEM TALK ft. Antoinette Jadaone and JP Habac of Ang Walang Kwentang Podcast
Executive Producer, Creative Director, Art Director, and Editor-in-Chief: Elwyn Baccay (@markelwyn)
Photographed by Gaile Geriane (@gailgeriane), assisted by Jutam Meregildo (@jutam_meregildo)
Makeup by Jia Achacruz (@jiaachacruz)
Hairstyling by Backie (@iambackie)
Styling by Angelo Vasallo (@angelovasallo__)
Antoinette is wearing HA.MU (@_ha.mu_)
Videography and Lights Direction By Hans De Barras (@Bastahans) and Cloyde Godoy (@cloydegodoy)
assisted by Ayessa Espinola (@lxspnl)
Story by Elwyn Baccay (@markelwyn)
Shot at SINEPOP (@sine.pop)
Special thanks to
IM Rentals (@imrentals) for the microphones
#MetrosceneMag
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