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The Third Party
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The Third Party
Theatrical movie poster
Directed byJason Paul Laxamana
Screenplay by
  • Charlene Sawit-Esguerra!
  • Patrick John Valencia
Story byEnrico C. Santos
Produced by
Starring
CinematographyDexter Dela Peña
Edited byNoah Tonga
Music byJessie Lasaten
Production
company
Distributed byStar Cinema
Release date
  • October 12, 2016 (2016-10-12)
CountryPhilippines
LanguageFilipino
Box office₱110 million
(as of November 2, 2016) (Worldwide)[1]

The Third Party is a 2016 Filipino romantic comedy drama film starring Angel Locsin, Sam Milby and Zanjoe Marudo. It is directed by Jason Paul Laxamana from a screenplay written by Charlene Sawit-Esguerra and Patrick John Valencia.[2][3]

The film was produced by ABS-CBN Film Productions and was theatrically released in Philippine cinemas on October 12, 2016, by Star Cinema.

The film marks Angel Locsin's second movie in 2016 after Everything About Her, and serves a reunion for her and Zanjoe Marudo who both starred in the 2012 film One More Try; both films were also released by Star Cinema.[4]

Plot

[edit]

The story revolves between exes Andi, an events manager who aspires to be a fashion designer (portrayed by Angel) and Max, a cosmetic surgeon (portrayed by Sam) who both find ways to keep their relation intact after a breakup. But later on, Max finds new love with a gay Pediatrician, Christian (portrayed by Zanjoe). Andi gets pregnant by Íñigo (portrayed by Paolo Paraiso) who abandons her, and the trio (Andi, Max, and Christian) forms a family. The film also tackles friendship and how a person gets to know more about himself.[5][6]

Cast and characters

[edit]

Main cast

[edit]
Angel Locsin portrays Andi Medina

Supporting cast

[edit]

Release

[edit]

The Third Party was theatrically released in the Philippines on October 12, 2016, by Star Cinema.[1]

Music

[edit]

Baby, I Love Your Way by Morissette and Harana (originally by Peter Frampton) was released as the official soundtrack for the movie.[8]

Reception

[edit]

Box office

[edit]

The film grossed ₱10 million on its first day.[1] The film has been successful nationwide and worldwide, despite its genre, giving a boost to the LGBT community. The Third Party reached the 100 Million mark in its 3rd week of showing, joining other successful films that reached 100 Million.

As of April 2019, the movie is available in the United States and elsewhere on Netflix.

Awards

[edit]
Award Giving Body Recipient Award Result
19th Gawad PASADO Awards
Zanjoe Marudo
PinakaPASADOng Katuwang na Aktor
 Won
33rd PMPC Star Awards for Movies
Zanjoe Marudo
Movie Actor of the Year
 Nominated

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Third Party

View on Grokipedia
from Grokipedia
is a 2016 Filipino romantic comedy-drama film written and directed by . The story revolves around Andi Medina (), an ambitious events manager and aspiring fashion designer, who schemes to rekindle her past romance with ex-boyfriend Max (), a cosmetic surgeon, unaware that he is now involved with Christian (), a pediatrician. Produced by , an Films subsidiary, the film depicts the ensuing romantic entanglements as Andi inserts herself into Max and Christian's relationship, leading to an atypical polyamorous dynamic. The film premiered in the in and became available on streaming platforms such as . It received mixed critical reception, earning a 33% approval rating from critics on based on limited reviews, while audience scores were more favorable, reflecting its appeal as a lighthearted exploration of and relationships. garnered a for Movie Actor of the Year at the 2017 for his portrayal of Christian.

Production

Development and pre-production

Jason Paul Laxamana wrote and directed The Third Party as his debut collaboration with , the film arm of known for producing mainstream romantic comedies. Previously recognized for independent works like Magkakabaung (), which explored restrained acting and long takes inspired by international arthouse styles, Laxamana applied his background in psychological nuance and to craft a screenplay centered on unconventional romantic entanglements. The project emerged in a Filipino cinema landscape dominated by formulaic rom-coms, where sought to integrate dramatic realism amid trends favoring lighthearted heterosexual narratives. Pre-production in early 2016 focused on logistical setup and script refinement to balance comedic elements with grounded depictions of identity and relationships, drawing from observed complexities in urban Philippine social interactions without relying on indie stereotypes. This phase preceded , which overlapped with Laxamana receiving the Cinemalaya 2016 best award for an unrelated , ensuring timely completion for the film's October 12 release. Star Cinema's involvement provided resources to adapt Laxamana's vision for broader appeal, prioritizing causal relationship portrayals over sensationalism in a market increasingly open to diverse orientations.

Casting decisions

Angel Locsin was selected for the of Andi Medina, an ambitious events manager navigating a complex , drawing on her established reputation in Philippine romantic dramas to anchor the 's emotional core. was cast as Max, the and Andi's ex-partner now in a committed , marking his first portrayal of a gay character in a major ; he accepted the without hesitation but expressed concerns about authenticity, preparing through personal consultations and research to depict nuanced romantic dynamics. portrayed Christian, Max's partner, selected alongside Milby for their chemistry in simulating intimacy despite both being straight actors, which aligned with Star Cinema's strategy of leveraging bankable stars for broader commercial appeal in tackling LGBTQ themes. Media reports on the emerged by mid-2016, with detailed announcements confirming the trio by September, emphasizing their ability to handle mature portrayals of fluid relationships without prior auditions publicly detailed. The decision to cast heterosexual performers in central LGBTQ roles followed prevailing Philippine industry norms, prioritizing market draw over identity-based casting, though it drew for resulting in portrayals some viewed as insufficiently convincing in conveying authenticity. Both Milby and Marudo admitted initial awkwardness in scenes requiring physical closeness, adapting through the film's comedic tone to prioritize relational realism over stereotypical tropes.

Filming and technical aspects

Principal photography for The Third Party commenced following a story conference held on July 15, 2016, at in , . Shooting was underway by late August 2016, aligning with typical Philippine film production timelines that prioritize efficient schedules for major studio releases under . The production utilized urban settings in to capture the film's contemporary narrative involving and personal relationships, though specific site details remain undocumented in . Cinematography was led by Dexter Dela Peña, employing standard digital techniques suited to romantic comedy-drama genres, with a focus on intimate framing to convey character in dialogue-heavy scenes. Editing responsibilities fell to Noah Tonga, who handled assembly to meet the film's October 12, 2016, theatrical release, resulting in a runtime of 118 minutes without notable demands typical of the format. No significant technical challenges, such as weather disruptions or scheduling delays, were reported during .

Synopsis

Plot summary

Andi Medina, an events manager and aspiring facing personal hardships including , turns to her ex-boyfriend Max Salazar, a cosmetic surgeon, for support. Max agrees to help and allows Andi to stay with him temporarily, despite warnings from her mother Belen against rekindling their past romance. Upon arrival, Andi discovers Max is in a with Rico , a chef known for his considerate and attentive nature. Determined to reclaim Max, Andi launches schemes to undermine Rico and disrupt their partnership, sparking a chain of comedic incidents and tense confrontations. These efforts reveal Max's bisexual orientation and expose underlying dynamics in their interactions, prompting Andi to reassess her motivations amid escalating conflicts. The narrative progresses through Andi's persistent interferences, including attempts to highlight incompatibilities between Max and Rico, which inadvertently foster unexpected bonds and among the trio. Ultimately, the story resolves with emphases on individual autonomy in romantic choices, leading to pairings that defy conventional expectations.

Cast and characters

Lead performers

Angel Locsin portrayed Andi Medina, an aspiring fashion designer central to the film's relational dynamics. Locsin, a Filipino actress who rose to prominence in the mid-2000s through dramatic and action-oriented television roles including the superhero series in 2009, drew on her experience in portraying resilient female leads for the character's determined arc. She had previously collaborated with in the 2008 romantic drama One More Chance and with in the 2012 family drama One More Try, providing familiarity among the leads entering production. Sam Milby played Max Labrador, a cosmetic surgeon entangled in past and present relationships. Milby, a Filipino-American actor who transitioned from reality television contestant on Pinoy Big Brother in 2005 to leading romantic roles in films like My Big Love (2008) and television series such as Maging Sino Ka Man (2006–2007), applied his established screen presence in conflicted love stories to the role. His prior work with Locsin in One More Chance marked an early teaming that recurred here. Zanjoe Marudo depicted Christian Pilar, the committed partner providing relational stability. Marudo, recognized for blending comedy with dramatic depth in romantic ensemble projects including television series like My Husband's Lover (2012–2013), embodied the character's grounded maturity consistent with the script's emphasis on adult relational complexities. His earlier on-screen pairing with Locsin in One More Try facilitated chemistry among the principals.

Supporting roles

Cherry Pie Picache plays Carina Medina, Andi's estranged mother who abandoned her family during Andi's childhood but reunites with her daughter amid Andi's personal crisis of and , providing reluctant and maternal counsel that amplifies Andi's themes of abandonment and resilience without dominating the central romance. Alma Moreno portrays Juliet, a secondary figure in the familial network surrounding the protagonists, contributing to interpersonal tensions through interactions that highlight generational conflicts and advisory roles in the romantic entanglements. Matet de Leon appears as Lila, one of Andi's confidantes who aids in her schemes to recapture Max's attention, offering comic relief and practical support in the ensemble dynamics that underscore the film's lighter moments of deception and friendship. Al Tantay depicts Mr. Labrador, Max's father, whose presence introduces external family pressures and approval dynamics that complicate Andi's efforts to rekindle her relationship with Max. These supporting characters, with their limited but pivotal , bolster the main conflicts by revealing backstory motivations and providing relational counterpoints, such as parental reconciliation and friendly scheming, while maintaining focus on the lead trio's emotional core.

Themes and analysis

Portrayal of sexual orientation

In The Third Party, the character Max, portrayed by Sam Milby, transitions from a long-term heterosexual relationship with high school sweetheart Andi to a committed same-sex partnership with Christian, an openly gay pediatric oncologist played by Zanjoe Marudo. This shift is framed within the narrative as a genuine self-discovery of bisexuality, with Max articulating his attraction as person-centered rather than gender-bound, emphasizing emotional compatibility over fixed orientations. The film depicts this evolution through scenes of intimate conversations and shared vulnerabilities, such as Max confiding in Andi about his feelings for Christian, culminating in a stable, non-tragic same-sex relationship that includes co-parenting discussions without descent into illness, violence, or isolation—contrasting with historical cinematic tropes of doomed queer outcomes. This portrayal aligns with a model of , suggesting orientation can adapt based on relational experiences, as evidenced by Max's prior heterosexual and fatherhood before embracing . However, empirical data from twin studies indicate a substantial heritable component to , with monozygotic twin concordance rates for same-sex attraction ranging from 30% to 65.8%, implying genetic influences account for at least half the variance, though not fully determinative due to incomplete and non-shared environmental factors. Such findings challenge simplistic self-discovery narratives by highlighting innate predispositions that resist post-hoc fluidity, particularly in males where orientation stability is higher than in females; large-scale longitudinal studies confirm some identity shifts into adulthood but underscore that core attractions often remain consistent, with fluidity more pronounced in behavioral labels than underlying physiological responses. Critics of the film's approach argue it promotes an unsubstantiated emphasis on environmental or experiential triggers for orientation change, potentially overlooking causal biological constraints evidenced by failed replication of strong genetic predictors and the absence of a singular "," while instead favoring polygenic and prenatal influences. The depiction avoids stereotypical flamboyance or for Christian, opting for nuanced traits like professional competence and emotional steadiness, yet Max's lacks exploration of internal conflict or arousal patterns, which research suggests may not symmetrically bridge heterosexual and homosexual responses in self-identified bisexual males. Conservative perspectives, as reflected in broader discourse on media representations, contend that normalizing such fluidity risks eroding traditional structures by implying malleable attractions undermine procreative stability, though the film prioritizes relational over these societal implications. Overall, while the humanizes non-heteronormative bonds through everyday realism, it simplifies complex etiologies, privileging narrative convenience over the interplay of fixed genetic substrates and variable life influences.

Relationship dynamics and realism

In The Third Party, the central between Andi Medina, Max, and Rico unfolds through interpersonal tensions driven by , , and shifting allegiances, rather than mutual compatibility or transparent . Andi, an events manager aspiring to be a fashion designer, learns of her ex-husband Max's secret relationship with Rico after their reconciliation attempts stall; she responds by seducing Rico to fracture their bond, positioning herself as the disruptive "third party" in a calculated bid to regain Max. This dynamic highlights causal factors like individual and opportunistic choice over rom-com ideals of effortless harmony, as Andi's actions exploit Rico's during a period of relational strain with Max, introducing power imbalances where her initiative overrides explicit group . The film's portrayal underscores realism in triangular conflicts by depicting maturity gaps and consent erosion: Rico initially engages with Andi under false pretenses about her intentions, leading to emotional entanglement that complicates his primary commitment to Max, a whose professional demands already strain their partnership. Script elements reveal these imbalances, such as Andi's strategic use of intimacy to manipulate outcomes, reflecting evolutionary preferences for varied strategies but ignoring long-term stability costs like trust deficits. Empirical supports of such configurations' viability; relationships involving bisexual individuals in mixed-orientation setups exhibit elevated dissolution risks, with studies reviewing 20 years of cases noting frequent breakdowns due to unmet needs and patterns. Similarly, same-sex cohabitations demonstrate dissolution rates up to twelve times higher than different-sex marriages, attributable to factors like intensified and compatibility mismatches absent in opposite-sex pairings. Andi's arc from manipulative pursuit to reluctant acceptance illustrates self-interested realism over idealized tolerance, as her initial yields short-term agency but exposes harms like relational fallout and personal disillusionment. Pros of this agency include empowered choice in navigating incompatibilities, allowing individuals to prioritize verifiable attractions over societal scripts. However, cons dominate in causal terms: fosters instability, mirroring broader patterns where non-traditional pairings dissolve faster due to unresolved tensions, with female-involved same-sex or mixed dyads showing particularly high breakup rates from communication breakdowns and external stressors. The narrative avoids rom-com gloss by grounding resolutions in pragmatic trade-offs, such as Andi's eventual pivot toward amid the triangle's inherent volatility, aligning with that enduring bonds on aligned incentives rather than accommodations.

Release

Theatrical premiere

The Third Party premiered theatrically on October 12, 2016, in cinemas across the , marking the wide domestic release distributed by , a of . The rollout targeted urban centers such as , with screenings in major theater chains including SM Cinemas and Cinemas, though no single gala premiere venue was highlighted in announcements. Promotional efforts centered on digital trailers and campaigns launched in late and early 2016, featuring the lead actors , , and to leverage their established fanbases from prior romantic comedies. These materials emphasized the film's rom-com structure—a involving an ambitious designer, her ex-boyfriend, and his best friend—while subtly nodding to the unconventional relational dynamics without foregrounding them to maintain broad appeal. Initial buzz stemmed from teaser clips that generated online engagement, positioning the movie as a lighthearted exploration of personal entanglements amid career pressures.

Distribution and availability

Following its nationwide theatrical rollout in the by on October 12, 2016, The Third Party saw limited international theatrical and digital releases, including a limited run in beginning October 21, 2016, followed by internet availability in the on March 21, 2019, and on March 29, 2019. The film entered digital streaming on in select regions, with platform listings confirming availability for viewers in markets such as the , though access has fluctuated by territory and was reported unavailable in the United States by late 2025. By April 2024, Entertainment uploaded a full version to , featuring a Tagalog original with Spanish dubbing and English subtitles, enabling free global access that expanded further with additional uploads in June 2025. As of October 2025, The Third Party streams on Amazon Prime Video in supported regions and remains available for digital rental or purchase on platforms including Apple TV and Amazon Video, often with English subtitles to accommodate international audiences. These options reflect Star Cinema's strategy for extending the film's lifecycle beyond initial theatrical windows, prioritizing dubbed and subtitled exports for broader dissemination.

Music

Soundtrack composition

The original score for The Third Party was composed by Jessie Lasaten, who crafted cues blending orchestral elements with contemporary pop influences to underscore the film's romantic comedy-drama tone. Lasaten's contributions emphasized subtle dramatic swells during emotional transitions, utilizing motifs and string arrangements to heighten relational tensions without overpowering . The primary vocal track, serving as the official soundtrack single, is a cover of Peter Frampton's 1976 hit "," performed by Filipino artists Morissette Amon and Harana. Released in October 2016 by to coincide with the film's premiere, the rendition features acoustic guitar-driven pop production with harmonious vocals, licensed for integration into key interpersonal sequences. No full was produced beyond this single, which was promoted via music videos and live performances tied to the movie's marketing.

Reception

Box office results

The Third Party earned ₱10 million on its opening day in the , October 12, 2016. By early November 2016, the film had accumulated ₱110 million in worldwide gross earnings, according to distributor . These figures primarily reflected domestic performance in the Philippine market, with limited international releases contributing minimally, such as a restricted run in starting October 21, 2016. The totals positioned the film as a commercial performer for , surpassing the ₱100 million threshold within three weeks of release.

Critical evaluations

Critics offered mixed evaluations of The Third Party, praising its departure from tragic in depictions of same-sex relationships while faulting narrative implausibilities and uneven tonal shifts. The film holds a 33% approval rating on based on limited professional reviews, reflecting concerns over its handling of emotional depth despite comedic strengths. On , it averages 6.1 out of 10 from user-submitted critiques that often highlight but note scripting flaws, though professional consensus similarly tempers enthusiasm for its resolution of complex relational dynamics. Positive commentary centered on the mature, non-tragic portrayal of characters as "decent, caring and mature individuals," a refreshing contrast to prevailing cinematic tropes, with strong performances from the leads enhancing realism in interpersonal conflicts. Angel Locsin's role as the aspiring designer navigating the was lauded for showcasing her versatility in blending and vulnerability, contributing to the film's light-hearted appeal amid themes of and . Reviewers appreciated the unbiased lens on life beyond labels, positioning it as an accessible entry in Philippine LGBTQ+ cinema rather than overt . Criticisms focused on superficial treatment of and relationship intricacies, with the script relying on contrived resolutions that undermine dramatic tension, such as abrupt shifts from humor to without sufficient emotional grounding. Some evaluations deemed the film's exploration of alternative lifestyles formulaic, prioritizing romcom conventions over nuanced of personal choices, leading to a sense of unresolved conveniences in character motivations. While not dominant in mainstream critiques, isolated commentary from value-oriented perspectives questioned the prioritization of non-traditional arrangements, viewing them as potentially glamorized at the expense of conventional relational stability, though such views remain underrepresented in aggregated professional discourse.

Audience reactions

Audience members praised the film's romantic comedy elements, including its humor, sweet moments, and lighthearted portrayal of relationships, often describing it as a fun watch despite not being groundbreaking. User reviews on IMDb, where the film holds a 6.1/10 rating from 326 votes, frequently highlighted enjoyable scenes and character chemistry, with some viewers appreciating the departure from tragic endings in similar-themed stories. In the Philippines, where conservative values predominate, fans expressed support for the happy resolution and the decency shown by characters amid relational complexities. However, reactions were mixed regarding the depiction of , with some conservative viewers reporting discomfort during public displays of affection between male characters, leading to awkward theater responses. These sentiments reflected broader unease in a culturally traditional about the realism and normalization of non-heteronormative dynamics, though others commended the film's brave exploration of love beyond rigid norms. Post-theatrical availability on Netflix has sustained interest, allowing international and repeat viewings that emphasize the rom-com appeal and character-driven decency, though specific streaming metrics for audience revival remain undocumented in public data.

Controversies and debates

The film's sympathetic depiction of a bisexual man and his gay partner as stable, caring figures in a love triangle drew praise from progressive commentators for challenging tragic gay tropes prevalent in earlier Philippine cinema, promoting unconditional acceptance amid ongoing societal discrimination. However, this idealization sparked counterarguments from conservative viewpoints emphasizing real-world empirical patterns, such as higher average numbers of sexual partners and relationship dissolution rates among homosexual individuals compared to heterosexuals, as documented in large-scale surveys like the U.S. National Health Interview Survey (2013 data showing same-sex couples reporting more prior cohabitations). Critics rooted in Filipino Catholic traditions, where over 80% of the population identifies as Roman Catholic, contended that the narrative undermines structures by normalizing non-heteronormative bonds without addressing potential causal links between non-traditional orientations and elevated risks, including ideation rates three to five times higher among and bisexual adults per meta-analyses of . Such portrayals were seen by some as advancing uncritical acceptance, sidelining evidence from twin studies indicating of at 30-50% rather than deterministic , thus overlooking environmental and volitional factors. No large-scale viewer petitions or formal boycotts emerged post-release on , , but op-eds and online discourse highlighted tensions between artistic representation and fidelity to observable outcomes, with progressive responses framing the film as overdue in a context where media stereotypes often cast gays as relational disruptors—"third parties" in heterosexual unions—mirroring the plot itself. This duality underscored broader epistemic debates on whether cinema should reflect causal realities or prioritize narrative affirmation, without systemic backlash derailing its commercial success.

Awards and recognition

Nominations and wins

received a nomination for Movie Actor of the Year at the 33rd in 2017 for his portrayal of Christian, the third party in the film's central romantic triangle; the category honored performances from 2016 releases, but the award was presented to for and for Curtains. No other cast members, director , or technical categories such as screenplay or music from The Third Party earned PMPC nods, reflecting the awards' emphasis on top-grossing and critically favored mainstream entries amid competition from films like Barcelona: A Love Untold. Marudo also secured a win for PinakaPasadong Katuwang na Aktor (Most Outstanding Supporting Actor) at the 19th Gawad Pasado Awards, a recognition from Filipino film critics for supporting roles in 2016 productions; this accolade highlighted his comedic timing and emotional depth in a dramedy that blended romance with social commentary on infidelity and relationships. The Gawad Pasado, organized by the Film Development Council of the Philippines and critics' groups, prioritizes artistic merit over commercial success, distinguishing it from broader industry honors like the PMPC. No further wins or nominations in screenplay, direction, or music were documented for the film at major Philippine awards ceremonies such as the FAMAS or Metro Manila Film Festival. Internationally, The Third Party did not receive formal nominations or wins at festivals or awards bodies, with no entries in tracking Asian or global cinema recognitions for 2016-2017 releases. This aligns with its primary domestic focus and limited overseas distribution beyond standard streaming availability.

References

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