
In the MMFF entry “UnMarry,” Angelica Panganiban returns to the big screen at a moment of personal recalibration. In an interview, she reflects on balancing work and family, learning to slow down, and why peace has become her priority.
Angelica Panganiban enters this year’s MMFF season in a noticeably different place.
Between promotions, family life, and a packed December schedule, she speaks less about momentum and more about balance, how to stay present while navigating a career that rarely slows down.
This holiday season, she admits, is especially full. Between film promotions and family commitments, she and her partner, Gregg Homan, are still figuring out how to make everything fit. Christmas, she says, will likely be simple this year, just the three of them at home.
“There’s a balance,” she explains. “We’ll keep it simple.”
That sense of restraint carries into how she talks about “UnMarry.” While the film marks another major MMFF entry for her, Panganiban doesn’t frame it as a comeback or a statement. Instead, she talks about it as part of a larger rhythm she’s learning to respect, one that includes knowing when to work, when to rest, and when to say no.
She admits that in recent years, her priorities have shifted. Where her career once dictated everything, family now takes up more space. Becoming a mother, she says, wasn’t a difficult transition, it was something she had always wanted.
That shift has also influenced how she approaches work. She’s more selective with projects, more conscious of location and schedule, and more willing to turn things down if they pull her too far away from home. It’s not about slowing down entirely, but about choosing better.
Her comments take on added weight when the conversation turns to emotional labor and relationships, particularly the idea of leaving something unhealthy behind. Without naming specifics, Panganiban speaks candidly about how difficult it can be to recognize when a situation has become harmful.

“It’s hard because, sometimes, you don’t realize you’re already in it,” she says. “You’re in denial. You don’t want to admit that something’s wrong.”
She describes healing not as a decisive break, but as a gradual process, one that requires time, honesty, and space.
“Sometimes you just let time do the work,” she says. “You let things settle. You take care of yourself.”
That sense of self-preservation, she adds, has made her calmer. These days, she’s less reactive, less easily shaken. The distance she’s taken from constant work, she believes, has helped her find stability.
“I’m getting peace,” she says simply.
That calm also carries into her work on “UnMarry,” where she brings a quieter confidence to her role. There’s no urgency to prove anything, no need to overextend. Instead, she approaches the film with the assurance of someone who knows her limits, and respects them.
As she balances motherhood, marriage, and her career, Panganiban seems comfortable letting things unfold at their own pace. The industry may still move fast, but she no longer feels compelled to match its speed.
For now, that’s enough.
“UnMarry,” directed by Jeffrey Jeturian, also stars Zanjoe Marudo, Solenn Heussaf, and Tom Rodriguez. It is an entry to the 51st Metro Manila Film Festival, which runs until Jan. 7, 2026.
Sometimes you just let time do the work. You let things settle. You take care of yourself.
Angelica Panganiban
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