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[FIRST IMPRESSIONS] “Reliving the Filipino 90s Nostalgia in Marla Ancheta’s One Hit Wonder” by Bryan Elijah Trajano

Marla Ancheta (director), One Hit Wonder, 2025. 112 min.

Before music was only a click away, One Hit Wonder transports us to a time when dreams of stardom were built on cassette tapes, vinyl, radio airplay, and live gigs. This 2025 Netflix Philippines film, written and directed by Marla Ancheta, revisits the heyday of Original Pinoy Music (OPM), capturing the grit and passion of aspiring artists before the rise of new media such as YouTube, SoundCloud, and Spotify. The film follows the journey of Lorina Dominguez (Sue Ramirez) and Entoy Mangarap (Khalil Ramos), two young dreamers navigating the highs and lows of the Philippine music industry in the pre-digital era. Set against the backdrop of the 1990s—a period widely regarded as the renaissance of OPM, thanks to legendary bands like Rivermaya and Eraserheads—the story pays homage to a generation of musicians who paved the way for today’s artists. With its nostalgic soundtrack and heartfelt storytelling, One Hit Wonder not only celebrates the enduring spirit of Filipino music but also reflects on the evolving landscape of fame, artistry, and ambition.

The story begins in 1984, with Lorina singing on a rooftop as she prepares for a contest. Her voice catches the attention of Entoy, who hears her from afar. When the competition begins, however, Lorina falters—overcome with nerves after realising that the bracelet her late father had given her is missing. Fast-forward to 1994: Lorina now works at a record shop, “The Record Store,” by day, and serves as a personal assistant to her cousin Lyn-Lyn (Vivoree Esclito), a rising star of the 1990s OPM scene, by night. Fate brings Entoy and Lorina together again, this time properly introduced, bound by their shared love of music. Their renewed acquaintance leads Lorina to join “Ang Banda ni Tessa.” From there, the film traces their struggles and triumphs as they submit demo tapes to radio stations, play in bars, and chase the hope of being discovered within the competitive music industry.

What struck me most was the film’s portrayal of the perseverance and grit demanded of artists in the 1990s. At that time, aspiring Filipino musicians endured long waits for recognition, unlike today when songs and covers can be uploaded instantly to countless platforms. Yet the film does not romanticise the struggle. Instead, it reveals the long nights, the quiet doubts, and the fleeting victories that made the pursuit of a dream worthwhile.

The pacing is deliberately unhurried, mirroring the arduous progress of pre-digital artists, for whom success was never immediate and each advance was hard-earned. This heightens the film’s emotional stakes. One striking example is Lorina’s eventual decision to leave the band, recognising that her priorities have shifted as she grows and changes. The film reminds us that dreams, however passionately held, may evolve in response to circumstance—sometimes leading us down paths we could not have foreseen.

The film’s attention to cultural nuance is what truly sets it apart. Filipino vernacular from the 1990s—such as dehins (no), ermat (mother), and erpat (father)—adds authenticity to the dialogue, grounding the characters in their time and place. The soundtrack, featuring Ulan by Rivermaya, Ligaya by Eraserheads, Bakit Nga Ba Mahal Kita? by Roselle Nava, and Ako Sa ’yo, Ika’y Akin by IAXE, plays like a mixtape of the decade. These songs do more than provide background texture; they stir deep emotions, evoking forgotten stories and memories long buried. Particularly striking is the inclusion of a short excerpt from a real interview with Eraserheads, conducted by the esteemed journalist Cheche Lazaro on Probe Team, which appears on the television in Lorina’s home. Such details make the film feel less like fiction and more like a collective cultural memory rooted in lived history. The reference to Regine Velasquez—now celebrated as Asia’s Songbird—changing her screen name from Chona to Regine in 1986, just before her rise to fame in the 1990s, adds yet another layer of authenticity to the film’s portrait of the era.

Watching One Hit Wonder made me reflect on how dramatically the music industry has evolved, particularly in the Philippines. Today, artists can upload their songs to countless digital platforms and instantly reach thousands, even millions, of listeners. Independent musicians no longer depend upon record labels for exposure, thanks to the democratisation of music distribution through social media. Yet this accessibility brings its own pressures—relentless content creation, dependence on algorithms, and the fleeting nature of viral fame.

By contrast, the 1990s felt slower, more deliberate. To achieve stardom required not only talent, but also perseverance, patience, and courage. Artists built their fan bases through live gigs, radio airplay, and word of mouth. Musicians vied for recognition, yet the era was also defined by a sense of camaraderie within the scene. The film captures this spirit with precision, portraying music not merely as a commodity, but as a vocation—an act of devotion.

Above all, One Hit Wonder is a reminder of music’s enduring power. Through it, dreams are voiced, stories are told, and memories are preserved. The film pays homage to a generation of Filipino musicians who laid the foundations for contemporary OPM, and for those who grew up with 1990s OPM, it offers not only a chance to look back, but an opportunity to feel that past vividly once again.

How to cite: Trajano, Bryan Elijah. “Reliving the Filipino 90s Nostalgia in Marla Ancheta’s One Hit Wonder.” Cha: An Asian Literary Journal, 25 Aug. 2025, chajournal.com/2025/08/25/one-hit.

Bryan Elijah Trajano earned his MA in Philippine Studies—Language, Culture, Media from De La Salle University in 2024, following the completion of his AB in International Studies at Far Eastern University in 2017. By day, he serves as a Customer Service Officer in an Australian BPO; by night and on weekends, he devotes himself to his passions—watching films and reading books. He has presented his research at numerous academic conferences and has published several critical reviews and scholarly works. Profoundly curious about global cultures, he delights in exploring diverse traditions and narratives through media and literature. [All contributions by Bryan Elijah Trajano.]