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Chris Martinez (director), Kontrabida Academy, 2025. 107 min.

Teleserye (drama), whether on television or in motion pictures, has long been a mainstay of afternoon and evening entertainment in Filipino homes, creating stories that reflect daily life, familial relationships, and deeply held cultural values. Award-winning director and writer Chris Martinez’s 2025 Netflix Philippines film Kontrabida Academy humorously highlights the familiar narratives and tropes of Philippine teleseryes, the ones we grew up watching and continue to find entertaining.

Gigi (Barbie Forteza), an assistant manager at a Korean restaurant, faces daily challenges as she tries her best to remain kind in a world that is not. Although she harbours resentment towards those who have disappointed her, she strives to make sense of her circumstances and to find peace amid the chaos. After winning a television at her office’s late Christmas party, Gigi discovers a streaming service called Betpix, which features a show entitled Batas ng Api (“Law of the Oppressed”). As she continues to watch the teleserye, she reacts strongly when Mirinisa (Ysabel Ortega) is mistreated by her stepmother Mauricia (Eugene Domingo) and stepsister Mimi (Xyriel Manabat). Mauricia, the kontrabida (antagonist), swiftly becomes the focal point of Gigi’s viewing experience, embodying the exaggerated villainy often found in local dramas. Eventually, Mauricia brings Gigi into the Teleserye World and offers to enrol her in Kontrabida Academy, a school designed to help her become stronger and better equipped to deal with her own reality.

Martinez excels in world building, particularly in the teleserye universe, where he constructs a school for the bida (protagonist) and another for the kontrabida (antagonist). This creative setup adds both structure and satire to the familiar tropes of Philippine drama. When Mauricia enters the human world in search of a new breed of kontrabida after her daughter’s death in Batas ng Api, there is a distinct touch of magical realism. Mirinisa’s portrayal of the archetypal damsel in distress, characterised by her passivity, tears, and refusal to defend herself, epitomises the traditional bida and reflects a long-standing teleserye convention. In contrast, Mimi and Mauricia’s performances are flamboyant and captivating, their characters shamelessly wicked, heartless, and cruel, which are all hallmarks of the quintessential kontrabida.

I appreciate how Martinez dissects every element of Filipino teleseryes, including plot, setting, supporting characters, and execution. He further highlights the idealised nature of these dramas by portraying the teleserye world as immaculate and perpetually camera-ready. One of the most intriguing concepts introduced is The Sponsor (Jaime Fabregas), a powerful figure who orchestrates every life within the teleserye universe. According to Mauricia, a teleserye’s ratings determine its survival, and The Sponsor even controls the fates of its characters. While attending Kontrabida Academy, Gigi, who eventually adopts the name Gia, becomes more assertive and spirited. Her internal struggle to delineate her own desires from the expectations of others mirrors her journey of self-discovery. She further explores the teleserye world when she joins the cast of “Batas ng Api”, accompanying Arnaldo (Jameson Blake) to San Bida University, a school for protagonists, where students are trained to embody the stereotypical “goody-two-shoes” and “damsel-in-distress” roles often found in Filipino teleseryes.

Through Gigi/Gia’s character, Martinez underscores the complexity of human nature, showing that individuals can embody both antagonist and protagonist traits. Modern teleseryes such as Rubi (2010), Contessa (2018), and Wildflower (2017-2018) increasingly illustrate this duality. However, the film might have benefitted from exploring additional conventions and tropes common in Philippine teleseryes. Amnesia arcs, secret twins, miraculous recoveries, and extramarital affairs are but a few of the many recurring elements that could have provided further layers of satire and commentary. The concept of Kontrabida Academy possesses immense potential for expansion into a television series that could delve more deeply into these clichés and explore the inner workings and lessons of the academy in greater depth.

The film’s cinematography deftly balances realism and fantasy. The teleserye world is crafted with a refined aesthetic, capturing the opulent style of real teleseryes through dramatic lighting, glossy visuals, and exaggerated framing. The visual contrast between the hyper-stylised teleserye realm and Gigi’s grounded real-world scenes allows viewers to easily distinguish between the two.

The production design is equally commendable for its intricate and whimsical execution. By referencing well-known teleserye settings, the inclusion of behind-the-scenes elements, such as crew members on set, lavish mansions, and various locations within the fictional Hacienda, adds both humour and authenticity. Moreover, the distinct visual identities of San Bida University and Kontrabida Academy, from architectural design to costume choices, reinforce the thematic divide between protagonists and antagonists, enhancing the film’s world-building while sharpening its satire.

The film itself is a clever satire of the current state of Philippine teleseryes. Martinez succeeds in casting some of the most iconic antagonists in Philippine show business, including Gladys Reyes, Jean Garcia, Celia Rodriguez, Baron Geisler, and Mylene Dizon, among others, whose presence lends depth and nostalgia to the film’s commentary. Kontrabida Academy offers a more self-aware exploration of the teleserye tradition. Beyond examining the genre’s intricacies, a potential series adaptation could encourage the industry to move beyond formulaic storytelling. If teleseryes are the beating heart of Filipino entertainment, then Kontrabida Academy is the jolt that reminds us that the heart can beat in a different rhythm.

How to cite: Trajano, Bryan Elijah. “Chris Martinez’s Kontrabida Academy and the Anatomy of a Filipino Teleserye.” Cha: An Asian Literary Journal, 28 Oct. 2025, chajournal.blog/2025/10/28/Academy.

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.]

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