Writer and Director: Isabel Sandoval
Set in 1970s Manilla, Isabel Sandoval’s film Moonglow screening at the BFI London Film Festival 2026 adopts the visual style of a 1960s and 1970s James Bond film within the morality framework of film noir. A stylish piece that unfolds with slow-burn effect, Sandoval smartly manages the unfolding tension, establishing an intriguing crime story set in a complex city filled with political corruption against the backdrop of a meaningful love story as their shared past haunts the characters. Holding its particular tone throughout, the colourisation in Isaac Banks’ cinematography make this a rich visual and storytelling experience.
Dahlia walks quietly across the grass at night, smoking a cigarette to calm her nerves. Once inside she steals big wads of cash. The next day the Chief of Police invites her to investigate the crime alongside old flame Charlie now a lawyer in New York who returns to Manilla. Troubled by their shared past, a web of corruption opens up but what will Dahlia do with the money?
So many of the scenes in Sandoval’s accomplished film nod to specific frames and sequences from the Sean Connery and early Roger Moore Bond movies, with even the opening segment, a dark garden at night, referencing Thunderball, while there also clear influences from You Only Live Twice and The Man with the Golden Gun. The stories and tone are quite different but Sandoval captures the depth of colour and vivid darkness of big budget 70s filmmaking in her similarly set story. All of this is married with the structure and atmosphere of film noir, light across the eyes of the actors, rainy windowpanes and plenty of profound smoking.
The story unfolds with a gripping elegance, the different winding paths through Dahlia’s and Charlie’s shared relationship, focused on the memories of one key glamorous night when their love faltered because of relevant outside influences, and Sandoval handles the drift between the misty memory and the very loaded present between them really nicely. How that underpins and sometimes affects the plot is well worked, making the eventual outcome satisfying.
It is noir so of course the morality is clear, any transgression has to be paid for and, however necessary a death is, a life pays for a life. Sandoval is captivating as the aloof Dahlia, seemingly unrufflable with a cool head that radiates self-preservation with a strong sense of justice. There is great chemistry with Arjo Atayde’s Charlie who seems more disturbed by the unexpected encounter with his ex and clearly traumatised by the discoveries that sent him away from the Philippines unable to trust his country. Together there is a palpable attraction and a wistful “if only” knowing they could never go back.
A compelling watch narratively and visually, Moonglow certainly lives up to its name.
Moonglow is screening at the BFI London Film Festival 2026 from 7-18 October.
