‘Only We Know’ opens in theaters on June 11, 2025.
In the opening of the latest film of director Irene Villamor, teacher Betty (Charo Santos) is discussing Samuel Becket’s Waiting for Godot and how it was received by opening audiences.
The discussion is interesting as the teacher points out plays perceived as heavy and too intellectual can be received differently by audiences.
The other life of teacher Betty unfolds as the film reaches its emotional peak. She is neighbor of Ryan (Dingdong Dantes) who’s become a widower upon the recent death of his wife (Max Collins). They begin as casual neighbors but end up forging a special friendship.
Over quiet dinners, which Betty and Ryan take turns hosting for each other, they come to terms with the state of their personal lives. That’s good enough to trigger casual encounters and metamorphose into special friendship.
If the response of the preview audiences is a gauge, this film is headed for good box office results.
Dingdong Dantes and Charo Santos go warm and intimate in Only We Know.
There’s a lot of giggling in dinner scenes, and in many moments, Charo brings to mind the character of Meryl Streep in Bridges of Madison County—except that her partner is much, much younger than the character of Clint Eastwood.
By the time the credits rolled, preview audiences burst into hearty applause—a precursor most likely of box office verdict.
Only We Know boasts an excellent ensemble of Shamaine Centenera Buencamino, Joel Saracho, Soliman Cruz and Rafa Siguion Reyna
Excellent acting goes beyond that of the lead stars.
Shamaine Buencamino with Charo Santos and Dingdong Dantes in a supermarket scene from ‘Only We Know’
With sensitive direction and a well-written screenplay by Irene Villamor, Only We Know boasts an excellent ensemble of Shamaine Centenera Buencamino, Joel Saracho, Soliman Cruz and Rafa Siguion Reyna, among others.
‘Direk’ Irene Villamor with Charo Santos and Dingdong Dantes: Collaborative process
Charo told TheDiarist.ph that preparing for Only We Know was truly a collaborative process between her and direk Irene (Villamor). “We had deep conversations about the character. I even took the extra step of meeting a retired English literature teacher who became the basis of my portrayal. Her words struck me deeply, ‘I am brave, I am bold, I am honest, I am me, I am authentic. I am not scared to show my feelings. And I say my piece, I’m living life.’ That kind of confidence and authenticity really inspired me. It wasn’t just about acting; it was about embracing a mindset, a way of being.”
She realizes how her approach to building new characters has changed through the years. “Life has been my greatest teacher. With all the experiences I’ve had as a woman, a mother, a wife, and simply as a human being, my understanding of emotions and human complexity has deepened. I no longer just ‘perform’ a character—I now live them. There’s more depth, more empathy, and truth in the way I approach every role.”
Dingdong admits that the greatest challenge of working with Charo came from his preconceived image of her
Indeed, it was easy building that natural rapport with her unlikely leading man because of his commitment to his craft. “Dingdong doesn’t just show up on the set. He comes prepared, having studied his character thoroughly. It was evident that he takes his role seriously. He memorizes his lines and brings an intelligence to his performance that truly shines on screen. Equally important is that he’s an attentive listener. He understands that every moment on the set is a chance to learn and grow. His natural talent, combined with his dedication, makes collaborating with him an absolute experience. I feel fortunate to share the screen with such a committed actor.”
Charo Santos and Dingdong Dantes in a ballroom scene: ‘Dingdong doesn’t just show up on the set. He comes prepared…’
That screen rapport didn’t just happen. They had several meetings before the shoot, thus they became relaxed with each other. “It was also a good advantage that direk Irene shot the film almost chronologically and guided us every step of the way. This approach allowed us to truly get into the flow and embark on the journey of our characters, Betty and Ryan.”
Dingdong admits that the greatest challenge of working with Charo came from his preconceived image of her—not just as an actress, but as an industry stalwart, an icon, and a leader. “She’s someone who has done countless films and worked with hundreds, maybe thousands, of actors. More than that, she has helped shape the success of a media giant that has produced many of the country’s brightest stars. With that in mind, I initially had a quiet fear of being assessed—as if I were walking into the most important audition of my life, for a very, very important role.”
Those thoughts were really just at the back of his mind. The real challenge was breaking the ice. “Yet the moment we met and started talking, all those worries disappeared. She never made me feel any of that. Instead, she exuded a calm, grounded energy—both off screen and on—that was compelling but never overbearing. It allowed me to open up and get into the work. That encounter completely changed my perception of her. It deepened my appreciation and admiration. Beyond her professionalism—which is a given—and her brilliance as an actress and storyteller, I realized she’s also a teacher. A teacher of life. A guide to the do’s and don’ts of the industry. Indeed, I found a mentor in her. It made me more me more mindful because I know my teacher is watching.”
That many scenes elicited giggles (kilig) among the preview audiences was a hint a new “love team” is born.
Dingdong says that rapport came naturally. “Honestly, it just clicked. It felt natural. And that, to me, is what you call magic—the kind that quietly unfolds in a performance. But not all magic didn’t happen by chance. In our case, the universe conspired a little, yes, but it was also because direk Irene set the tone. She created a space where collaboration thrived, where our instincts were trusted, and our interpretations valued. She gave us the freedom—and the responsibility—to shape Betty and Ryan through our own lens. And that kind of trust? It unlocks something deeper. Suddenly, you’re not just playing a role; you’re living it. Of course, a huge part of that came from my scene partner, Ma’am Charo. The way she breathed life into Betty—with nuance, with honesty—made it easy to respond with truth. As Ryan, I simply had to be present, to listen, and to stay open. That’s when the real magic happens—not in the grand gestures, but in the quiet moments where two actors genuinely connect.”
Dingdong says he always strives for truth as an actor. “Whether it’s a scene that lasts a minute or a role that spans an entire series, my goal is to bring something honest to the screen—something that connects. I want the audience to feel, not just watch. And for that to happen, I need to approach every character with respect, curiosity, and a willingness to unlearn and relearn. I also strive to grow—not just as an actor, but as a person. Every project, every co-actor, every director teaches me something new. And the moment I stop learning, I believe the performance starts to lose its soul.”
He singles out what it takes to be a professional in this calling. “I strive to be a professional—on and off the set. Because beyond talent, it’s discipline, collaboration, and integrity that sustain a long and meaningful career in this industry. So, whether I’m playing a romantic lead, a father, a soldier, or even just a fleeting role, I remind myself: you’re not just telling a story—you’re representing a slice of life. And that’s a responsibility I never take lightly.”
Charo is all praises for direk Irene: “Direk Irene is passionate and authentic. She’s very collaborative—she listens but she also knows exactly what she wants. She’s deeply rooted in her vision, and that clarity makes her such a strong and effective storyteller. She knows her characters. She’s also a wonderful writer. Her words have soul.”
Direk Irene likes to think Only We Know is her most tender movie. ‘…. This has none of the irony or often angsty or cynical view about life and love….’
Direk Irene likes to think Only We Know is her most tender movie. “I believe it is. This has none of the irony or often angsty or cynical view about life and love. I guess this is my most mature work as well.”
That Charo and Dingdong are both consummate professionals actually made her job easy. “When I first met Ma’am Charo, I was intimidated. But throughout all the delays in the production, we kept on having these conversations and I really got to know the woman behind the persona. So, when the actual shooting came, I was already comfortable giving directions. As for Dong, I’ve worked with him a lot of times so there’s a kind of shorthand already to how we are on set. I know when he needs space and he can also give me feedback as to the story and how we’re filming the scenes.”
The director started as an intern around 2000. She rose from the ranks, doing all sorts of jobs, from wardrobe to script supervisor to assistant, until she was given the chance to write screenplays and then eventually direct her own material. “I always strive to tell stories that would resonate with the viewer. It is my hope that the audience would recognize themselves, or at least empathize with the characters on screen. I always like to do movies that I myself would like to watch.”
All my life, I have been taking care of people. Now, I wake up and I have time for myself
As for Charo, she likes the way she has evolved.
It was a breeze playing the role of Tindeng in the hit teleserye, Batang Quiapo.
Says she: “Tindeng is such a strong character and I admire her deeply. She’s a fighter. She holds firm to her values and she serves as the moral compass for her family. That really resonates with me. But honestly, my growth as an actor doesn’t just come from one project—it comes from how I choose to live my life. Every moment, every lesson shape how I tell stories.”
From the disturbed young woman in Mike de Leon’s Itim to the Imelda-like character in Lino Brocka’s Gumapang Ka Sa Lusak, Charo retraces her growth as an actress. “When you are young, you are often inhibited, insecure, and self-conscious. As you mature, you develop a better sense of yourself and gain knowledge and experience about the world. You also gain a deeper understanding of life’s complexities. They allow your acting to become richer, more engaging, and more truthful. The best approach to acting is to be natural, sincere, and nuanced with your emotions. You have to stay truthful by focusing on the character rather than the persona of the actor. It’s important to tap into your own feelings and experiences to create a genuine portrayal. You have to listen, observe, imagine, and understand context and perspective. All my life, I have been taking care of people. Now, I wake up and I have time for myself. I do what I love—whether it’s acting, spending time with my grandchildren, or even exploring social media and discovering a whole new world. I feel lighter, younger, and more present.”
Indeed, Charo Santos’ time has come.
Poster of ‘Only We Know’
