“Forgotten Island,” an animated feature directed by Joel Crawford and Januel P. Mercado, explores the Filipino mythical island of Nakalimutan—referred to as Nakali—a vibrant realm inhabited by aswang, supernatural beings rooted in Filipino folklore. The story centers on two childhood friends, Jo and Raissa, whose bond is tested by memory loss and the challenges of growing up.
Set in the 1990s Philippines, Jo (voiced by H.E.R.) is portrayed as confident and impulsive, shaped by the stories her grandmother told about Nakali. Raissa (Liza Soberano), more reserved and academically inclined, plans to pursue college in the United States, foreshadowing an impending separation. On their final night together, the friends unexpectedly discover a portal to Nakali but awaken with no recollection of how they arrived or how to return home, prompting a quest to piece together the missing memories.
Memory forms the central theme of the film, reflected in its narrative framework reminiscent of the “hangover” genre, where characters try to reconstruct lost events. While this approach introduces elements of humor and tension, critics note it limits the story’s depth, overshadowing the rich folklore and imaginative elements that the film vividly presents.
Nakali itself is visually striking, characterized by neon hues and detailed, lush environments that suggest both a lively festival and a dense mythical forest. The design draws inspiration from Philippine culture, from market stalls reminiscent of local convenience stores to distinctive character outfits from the 1990s. Animated sequences vary stylistically, incorporating personalized flashback animations and anime-inspired segments, adding layers of humor and cultural nuance.
The island’s inhabitants include a colorful supporting cast featuring a weredog character (voiced by Dave Franco), a monarch named King Truffle Wuffle (Ronny Chieng), and an oversized demon baby (Manny Jacinto). Among these creatures, the Dreaded Manananggal—voiced by Lea Salonga—stands out for both her terrifying presence and intricate animation. The vampire-like creature, famous in Filipino myth for detaching her upper body, is depicted with technical sophistication and visual impact.
Despite the abundance of imaginative characters and a richly detailed world, the film’s runtime limits the development of these figures and the relationships between them. The narrative’s resolution offers emotional warmth but leaves some thematic elements underexplored, particularly the cultural memory aspects that tie local folklore to the characters’ personal and communal identities.
Throughout their journey, Jo and Raissa frequently use the Tagalog phrase “Tayo na,” meaning “let’s go,” symbolizing both their unity and connection to heritage. While “Forgotten Island” succeeds in introducing audiences to a captivating mythical universe inspired by Filipino traditions, it ultimately stops short of fully delving into the complexities of friendship, memory, and cultural legacy that could deepen its impact.