
The Entitled
2022

2018
Director
Topel Lee
Runtime
105 minutes
Average Rating
No ratings yetSynopsis
Jess, a bellboy working at The Manila Hotel, is gifted an all-expenses paid stay at the hotel's most expensive suite. And during his stay, he encounters Veronica, a professional golddigger. Jess keeps up the illusion of being a rich guest of the hotel, hoping to get Veronica to fall in love with him before he has to tell her the truth.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film focuses on a heteronormative romantic pursuit. There is no visible engagement with queer relationship dynamics or non-cisnormative identities.
Gender Representation
Traditional romantic archetypes drive the story. While the female lead possesses a cynical agency as a 'golddigger,' power dynamics remain rooted in conventional courtship expectations.
Racial & Ethnic Diversity
The setting at The Manila Hotel ensures a localized, Filipino-centric narrative. However, the film lacks evidence of a broader intersectional ensemble beyond the local demographic.
Religious & Cultural Diversity
Class mobility and the performance of wealth serve as the primary themes. The story uses class disparity as a comedic engine rather than a systemic critique.
Disability Representation
There is no mention of characters navigating physical, sensory, or neurodivergent experiences within the narrative.
Strengths
Areas for Improvement
AI Analysis
The film operates as a standard romantic comedy, relying heavily on established genre tropes. It centers on a deception plot involving class identity and romantic aspiration rather than challenging social hierarchies. While the setting provides a specific Filipino cultural context, the narrative does not attempt to deconstruct social institutions or systemic inequality. Instead, it uses the friction between service labor and luxury to drive a comedic plot. Ultimately, the work lacks intentional intersectional subversion, focusing instead on individual romantic success within a conventional framework.

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