Forgotten Island, an animated graffiti-art fantasy, was released in theaters worldwide in September 2026. Joel Crawford and Manuel Mercado wrote and directed the film, and DreamWorks Animation produced it—the first film by the company to draw its inspiration and theme from Filipino culture and mythology.
Set during the 90s in the Philippines, the story follows two best friends, Jo and Raissa, and their adventures in the forgotten island of Nakali, an island occupied by mythological creatures from Filipino folklore.
The movie received a 100% rating on Rotten Tomatoes, and the internet exploded with personal reviews from a diverse group of netizens, mostly of Filipino ethnicity.
For the most part, all were exhilarated that a mainstream company like DreamWorks had produced an animated film that showcased not only Filipino talent, but Philippine culture, art, and folklore.
Lani Lolong, a young mom, narrates how she took her daughters to see the movie: “We all loved it! Forgotten Island is an animated fantasy-comedy film from DreamWorks Animation that is deeply rooted in Filipino folklore.
“Even my husband, who is very critical when it comes to films, really enjoyed it! He thought the movie was very unique, creative, and artistic. My 6-year-old was laughing, but there were also moments when I had to carry her because she was so sad and almost crying.”
“As a Filipino mom, I truly appreciate and enjoy the humor and the way Filipino culture was brought into a fun, creative, and artistic film like this. I highly recommend everyone watch it! It’s such a fun way to see Filipino folklore and culture brought to life in animation. Although it might not be suitable for children younger than 4 years old. Tayo na!”
Local insurance executive Marivic Dar posted a short review on her Facebook account:
“The story, nuances, and use of Filipino language were fascinating. It reminded me of how my Lola would tell stories about kapre, manananggal, duwende & other creatures as though they were part of our everyday lives. We were reminded not to take them for granted.
“I thought at first, ‘Where is this story going?’ And almost gave up, but it turned around and made it so worthwhile. I won’t take my young grandkids, but I know my grown children will enjoy it. Oh, and it’s best when you go with friends. Tayo na!”
Carolyn Weygan Hildebrand reflected that the movie was experimental in the way it tells its story—especially when it is read as a Filipino story.
Her immediate reaction was that it had been a wild ride with its use of language, folklore, and animation. She notes that initially, it did not quite go where she expected it to but after a good night’s sleep, she reflected on what the movie was actually saying.
She notes that: “Once I anchored my thoughts on the memory-stealing creature, the rules of the island, and even the friendship bracelets, the film began to open up differently. I started to see an allegory for what happens when stories, memories, and identities enter into negotiation with others—especially with those who may ‘steal stories,’ reshape them, or make them difficult to reclaim.”
“And perhaps that is part of the point: there is no perfect ally, no completely predictable solution, and no simple way of recovering what has already been forgotten, taken, translated, or transformed.”
“But one thing I suspect many Filipinos will recognize is how the film makes the lolas of the world its quiet heroes: unconditional, sometimes accidental bearers of a culture of care, memory, language, and belonging. And the grandchildren become the ones who remember—or learn to remember—carrying what they inherit with them, whether they fully understand it at first or not.”
Carolyn believes that what the film asks us to notice “what we keep, what we lose, what others take from us, and what we choose to recover.”
And the tagline “Tayo na!” is not simply an invitation to go somewhere, but a call toward easier, kinder, and less perilous ways of “unforgetting” our languages, stories, and identities.
Instagram is also full of reviews, some selfie videos as they leave the theaters. Most are positive reviews, encouraging folks (and not necessarily of Filipino ancestry) to see the movie for its artistry and cinematic value.
One that I found thought-provoking is from a Korean-American 40s-something mom of two boys who did a comparative review of Forgotten Island with K-Pop Demon Hunters.
She says she may be criticized by her own people, “…but I thought K-Pop Demon Hunters was just okay, but Forgotten Island is fantastic!”
“Both are full-feature animation films rooted in Asian cultures…both take you into the fantasy journey of fighting demons and monsters rooted in cultural folklore” and that K-Pop Demon Hunters opened doors for films like Forgotten Island.
And she continues, “But if we’re being honest, the storyline in K-Pop Demon Hunters was just good versus evil, but with Forgotten Island the story is rooted in the reality of navigating a friendship that’s growing apart as it transitions from childhood besties to the growing up world of what-are-we gonna-do-with-our-lives.”
The theme resonated with the audience, and the underlying thread is that there is power in shared memories.
“It digs deep; it makes you come to terms with that love from a friend that can be filled with jealousy and misguided, that holds you back…we’re all fallible and true love can persevere and should always remember.”
She says that the film “doesn’t just pose these questions and run away from it, but shows the good, bad and ugly of it all, and embraces the challenge of answering these hard questions.”
The movie cost $80 million to make, but the opening week sales have been dismal. As one reviewer noted, its technical animation is superb, but its marketing and promotion were poorly done.
For newly minted business partners, Andrea Caymo Kauhanen and Mylene Reyes of AnterBridge, the September 27, Sunday showing at Kailua Cinema was an opportunity to encourage friends and family to watch the film by reserving the entire theater for a private showing and promoting it via their personal networks.
Similar “private showings” are popping up in various cities, where folks who enjoyed the movie are promoting it by word of mouth, Facebook postings, and Instagram selfies.
The concern from Filipinos around the world, who were exhilarated to see their culture and folklore represented on screen by a major company, is that its poor box-office results will discourage the creation of films like it.
If you have not seen the movie yet, bring a friend and see it. For baby-boomers like me, you may find the pace too fast and bewildering. Its depiction of folklore creatures of my childhood was disappointing (except for the manananggal, who looked exactly like the ones depicted in my children’s books and matched how I thought the creature would look).
It’s worth watching. As a certified lola, I can see the value of sharing memories, retelling stories told by my own grandparents, and encouraging the young generation to interpret these stories in new forms.
The movie is expected to run at Hawai’i theaters for three to five weeks total (lasting through mid-to-late October 2026). But since it had a slower box office debut, individual showtimes at smaller or non-first-run theaters across Hawai’i may scale back to daily or weekend-only screenings sooner rather than later. Get your tickets now!
ROSE CRUZ CHURMAestablished Kalamansi Books & Things three decades ago. It has evolved from a mail-order bookstore into an online advocacy with the intent of helping global Pinoys discover their heritage by promoting books of value from the Philippines and those written by Filipinos in the Diaspora. We can be reached at kalamansibooks@gmail.com.
+ There are no comments
Add yours