Black comedies are a rare gem in Philippine cinema, and A Very Good Girl gleams with dark humor, biting satire, and a dose of chaotic fabulousness. Directed by Petersen Vargas, this film fuses elements of suspense, moral quandaries, and camp, all wrapped in the high-fashion, high-society world of the elite. Starring the ever-charismatic Kathryn Bernardo and the critically acclaimed Dolly de Leon, A Very Good Girl offers a wild ride that doesn’t just entertain—it pushes you to question the blurred lines between good and evil.
Plot Breakdown: Black Comedy Meets Telenovela
The story revolves around Mercy (Kathryn Bernardo), a young woman wronged by her employer, the devilish and conniving Molly Suzara (Dolly de Leon). After losing her job and her mother in a horrific, heartless accident involving Molly’s company, Mercy spends the next five years plotting the ultimate revenge. She reinvents herself as “Philo,” a wealthy businesswoman who slowly worms her way into Molly’s world, playing a dangerous game of deception and power.
But this isn’t your typical rags-to-riches, good-versus-evil narrative. As Philo gains Molly’s trust, the film escalates into a series of shocking twists involving secret alliances, backstabbing (both literal and figurative), and laugh-out-loud moments that offer sharp social commentary. The script, penned by Marionne Dominique Mancol, dials up the absurdity while still retaining a grounded emotional core.
Is A Very Good Girl the revenge flick of the year? Yes, but with sequins, sex tapes, and some well-placed punches of satire.
Kathryn and Dolly: A Duel for the Ages
Let’s face it—this movie works largely because of the dynamic duo at its center. Kathryn Bernardo, who has mastered the art of playing relatable “good girls” in rom-coms, brings a whole new side to the screen. Philo/Mercy is a complex character. She’s ruthless in her pursuit of vengeance, but Kathryn makes her sympathetic, even likable. It’s a role that lets her play with shades of morality in a way we haven’t seen from her before.
And then there’s Dolly de Leon as Molly Suzara. If you thought Dolly stole the show in Triangle of Sadness, wait until you see her here. She is every bit the narcissistic, manipulative queen bee you love to hate. Dolly brings a sense of menace and vulnerability to Molly that makes her character a fascinating anti-villain—one who wields her power with the subtlety of a sledgehammer.
The two actresses’ on-screen chemistry is electric. Watching their scenes feels like you’re witnessing a psychological chess match—except in this game, the players are wearing designer outfits, and the pawns? Well, they get their heads bashed in.
Black Comedy with Filipino Flare: High Drama, High Camp
What sets A Very Good Girl apart from other thrillers is its brilliant infusion of black comedy. The humor sneaks in, poking fun at the outlandishness of Manila’s elite society while never losing the tension of its central plot. Whether it’s the bizarre dialogue exchanges or the over-the-top scenarios (like Mercy cutting off her colleague’s…ahem…manhood to secure her way into Molly’s inner circle), there’s a sense of humor that Filipino audiences will particularly appreciate. It’s telenovela meets Quentin Tarantino—with a touch of fashion show spectacle.
The movie also makes brilliant use of irony. Molly’s empire, built on lies and blackmail, crumbles at the hands of a woman she’s unwittingly mentored. Mercy’s duality—a woman driven by revenge who still yearns for validation—is striking and resonates with anyone who’s grappled with the concept of justice versus self-preservation.
Fashion as a Weapon: The Aesthetics of Power
Visually, the movie is stunning. Every frame feels like a fashion editorial, with elaborate costumes, elegant settings, and a color palette that screams “high society.” The costumes aren’t just for show—they serve as a narrative device. As Mercy transforms into Philo, her outfits become more extravagant, symbolizing her growing power and proximity to Molly. The meticulous attention to detail in the production design further cements A Very Good Girl as a treat for both the eyes and the mind.
Social Commentary: A Mirror to the Elite
Beyond the glitter and drama, A Very Good Girl offers a sharp critique of the Philippine elite. The movie highlights how power and wealth often come hand-in-hand with corruption, exploitation, and moral decay. Through characters like Molly, the film exposes the deep-seated rot beneath the veneer of respectability. Mercy’s journey serves as a reminder of how broken systems can push the disenfranchised into becoming the very monsters they sought to destroy.
The satire is pointed but not preachy. In fact, the exaggerated situations—like orchestrating a stabbing just to gain sympathy—serve to underscore the ridiculousness of real-life political and social dynamics. It’s both cathartic and uncomfortable, especially if you’re a casual moviegoer who’s seen some of these dynamics play out in real life.
Weaknesses? Few and Far Between
If there’s one area where A Very Good Girl stumbles, it’s in pacing. Some scenes feel like they drag a little too long, and a few plot points seem convoluted (Rigel’s sudden appearance, for instance, feels underdeveloped). However, these are minor issues in an otherwise tight script. The film could have pushed its satire even further, but perhaps it’s holding back just enough to keep its mainstream appeal.
Final Verdict: A Darkly Delicious Treat
A Very Good Girl delivers a fun, thought-provoking experience for both casual moviegoers and cinephiles alike. It blends high-stakes drama with biting humor, and the performances from Kathryn Bernardo and Dolly de Leon are worth the price of admission alone. If you’re looking for a Filipino film that feels fresh, darkly comedic, and smartly satirical, this one’s for you.
So grab your popcorn—and maybe a designer handbag or two—and get ready for a film that will keep you hooked from start to finish. Just be prepared: revenge has never looked this good.
Rating: 8.5 Pandesals out of 10
| Criteria | Rating (out of 10 Pandesals) |
|---|---|
| Storyline | 8 |
| Performances | 10 |
| Direction | 8 |
| Cinematography | 9 |
| Humor | 7 |
| Satire/Social Commentary | 8 |
| Pacing | 7 |
| Production Design | 9 |
| Rewatch Value | 8 |
| Overall Impact | 9 |
