A Shallow Cross: Religion and Reductionism in Sana Sinabi Mo

Netflix’s "Sana Sinabi Mo" positions itself as an emotionally resonant meditation on family, secrecy, grief, and self-discovery. At its center is a son attempting to piece together the hidden life of his late father, whose identity and relationships were suppressed under the weight of social expectation and religious belonging. The film has been generally received as tender and sincere, praised for its performances, intimate tone, and willingness to explore themes of sexuality and generational silence. Yet beneath its emotional earnestness lies a troubling narrative shortcut: the portrayal of organized religion—specifically a vaguely Christian congregation—as a largely hostile, punitive, and intellectually hollow force.

I do not seek to defend Christianity nor dismiss the real harm perpetuated by religious institutions. Rather, it critiques "Sana Sinabi Mo" for offering a flattened, almost caricatured depiction of religious life, one that relies on familiar cultural assumptions while avoiding theological, historical, or pastoral complexity.

Religion as Narrative Antagonist

In the film, the church functions less as a lived community of belief and more as a symbolic antagonist. It represents repression, judgment, and exclusion—particularly in relation to the father’s concealed sexuality. The congregation’s response to scandal and death is portrayed as cold and unyielding, suggesting a moral system incapable of grace or introspection.

This framing is emotionally effective but critically thin. Religion is not explored as a worldview or tradition; it is deployed as narrative shorthand for intolerance. The church’s presence exists almost entirely to explain why secrecy was necessary and why suffering went unspoken. While this may reflect the lived experiences of many who have been wounded by religious institutions, the film does not attempt to distinguish between institutional failure and theological belief, collapsing both into a single, hostile posture.

Ambiguously Christian, Conveniently Simplified

Notably, the film never specifies the denomination, theology, or doctrinal commitments of the church it depicts. It gestures toward Christianity—through language, rituals, and moral expectations—but does so vaguely, as though precision were unnecessary. This ambiguity allows the film to borrow the cultural authority of “Christianity” while avoiding the responsibility of understanding it.

As a result, the congregation appears to operate on a set of invented or distorted assumptions about faith. For example, the film implies that the church denies basic rites or spiritual concern for the dead, presenting a faith community seemingly unconcerned with prayers for the departed or the hope of salvation. There is no engagement with long-standing Christian beliefs surrounding death, mercy, repentance, or the pastoral care of grieving families. Concepts such as blessing the dead, entrusting souls to God, or holding moral tension alongside compassion are entirely absent.

This omission is not trivial. It reveals that the film is not interested in critiquing Christianity as it is practiced or taught, but rather in critiquing a secular imagination of Christianity—one stripped of nuance, ritual depth, or internal moral struggle.

Hostility Without Interior Life

One of the film’s most striking limitations is that religious characters are never granted interiority. Church leaders and members do not wrestle with conscience, doubt, or competing values. They do not appear divided, conflicted, or even thoughtful. Their hostility is uniform and unquestioned.

In reality, religious communities—especially Christian ones—are often marked by internal tension: between doctrine and compassion, tradition and reform, judgment and mercy. By denying the church any internal diversity, "Sana Sinabi Mo" presents religion as morally static, incapable of growth or self-critique. This portrayal may resonate with audiences already disillusioned with institutional faith, but it ultimately limits the film’s moral seriousness.

Critical Reception and the Limits of Praise**

Much of the film’s positive reception has focused on its emotional authenticity and quiet storytelling. Critics have commended its handling of grief and its sensitivity toward queer identity. Yet even sympathetic reviews often note that the film’s social critiques—including its depiction of religion—remain surface-level. Religion is felt rather than examined; it wounds, but it is never understood.

This may explain why the film’s critique feels incomplete. By refusing to engage with theological nuance, the film forfeits the opportunity to interrogate why religious communities fail—and how they might change. Instead, it settles for depicting failure as inevitable.

Conclusion: A Missed Opportunity for Depth

"Sana Sinabi Mo" is not wrong to question religious authority or to highlight the pain caused by moral rigidity. But its portrayal of an ambiguously Christian congregation remains one-dimensional and incurious, relying on cultural assumptions rather than informed critique. By failing to acknowledge theological traditions, pastoral practices, or even internal dissent within faith communities, the film reduces religion to a static symbol of harm.

In doing so, it misses an opportunity to offer a richer, more challenging conversation—one that could have explored not only how religion wounds, but also how it wrestles, fractures, and sometimes transforms. What remains is a moving personal story framed by a shallow institutional critique, leaving viewers with emotion, but little understanding.