Pulang Araw (2024)

Hit the spot on the Japanese Occupation in the Philippines

The Filipino historical teleserye Pulang Araw has captivated audiences with its rich portrayal of wartime life and Filipino resilience during the Japanese occupation of the Philippines. The show follows characters like Adelina Dela Cruz (played by Barbie Forteza) and her brother Eduardo (Alden Richards), with Adelina and Eduardo's love interests: Hiroshi (David Licuaco) and Teresita (Sanya Lopez) who is Adelina's half sister. exploring their complex family dynamics and the challenges they face in a time marked by colonization and social conflict. The series has been praised for its authentic period details, like costumes and language, which transport viewers to the 1940s and help immerse them in the era's struggles and cultural nuances.

The cinematography in Pulang Araw is also notable, with director Dominic Zapata using a mix of wide shots and close-ups to capture the intensity of war scenes. The production team’s attention to detail, from traditional wardrobes to period-accurate military uniforms, enhances the visual experience and keeps historical accuracy at the forefront. The use of color grading distinguishes between past and present events, adding a layer of visual storytelling that helps audiences navigate the narrative's timelines.

Performances by the cast, especially child actors, have been widely celebrated for their emotional depth, with critics highlighting how these roles add poignancy to the storyline. Overall, Pulang Araw is seen as a heartfelt exploration of Filipino identity, portraying themes of love, sacrifice, and resistance with a dramatic intensity typical of teleserye narratives.

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Plot: 4/10
The series starts off slow and uninspired. While the latter half tries to build tension, it ultimately falls flat in terms of storytelling. It feels as though the writer was obsessed with shock value — almost pleading with the audience: “Look how pitiful they are! Feel bad. Cry. Look what happened to women back then. Isn’t it horrible? Here’s more tragedy so you can cry even more.” Instead of letting the story naturally evoke empathy, it feels emotionally manipulative.

I’ve seen other dramas tackle the brutality of war and the suffering of comfort women — but they do it with more nuance. Here, the story just circles around the same emotional beats with little depth. The writing is its biggest flaw. Dialogue feels unnatural and sometimes cringe-worthy, as if they were aiming for lines that would go viral or end up as "hugot quotes" rather than serve the story.

The characters, especially Adelina and Teresita, feel too modern — from the way they speak to the way they present themselves. It breaks immersion and makes it harder to buy into the historical setting.

Acting: 8/10
Barbie (Adelina) doesn't quite fit the historical drama mold. She has what some call an “iPhone face” — too polished and contemporary for the era. Even her speech patterns feel too modern, which pulls you out of the illusion.

Dennis (Yuta) carried the series, in my opinion. Yuta as a character isn’t particularly compelling — his backstory lacks weight and his motivations are weak. But Dennis made him interesting. He embodied a terrifying, unpredictable presence. Sometimes he doesn’t even need to speak — his expressions alone make him feel menacing.

David showed significant improvement from his earlier roles, though his character seems to exist solely as Adelina’s devoted follower. Honestly, the story could go on without him.

Alden’s character started off the most compelling — a desperate, struggling peasant abused by the upper class. Alden’s performance sold that pain and frustration. Sadly, the character loses momentum midway through the series and becomes forgettable. Again, the plot could proceed without him.

Rochelle (Amalia) gives the most grounded performance. Despite being handed some cringe lines, she makes her character feel real. I felt for her — truly. I just wish her story arc wasn’t constantly burdened with endless tragedy. As of episode 90, her character is being put through yet another horrible ordeal, and honestly, it’s starting to feel exhausting.

Supporting Cast:
The actors playing the Japanese soldiers were surprisingly impressive. They genuinely looked and felt intimidating — I even assumed they might’ve cast real Japanese actors. That added a layer of realism the show sorely needed.

As for Jay (Akio) — the dark horse of the show — I was fully convinced he was going to be the one to kidnap Teresita or turn out as the main villain. The actor did a fantastic job making Akio feel like a creepy, unpredictable presence. He brought complexity and subtlety to what could’ve been a forgettable role.

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