In a gripping confrontation scene, legitimate wife Charmaine Escaler (Cristine Reyes, right) tells off mistress Kara Zalderiaga (Anne Curtis, left): "Marriage is like an exclusive village. Kailangan mo bantayan para hindi makapasok ang mga squatter!" To this, the infuriated Kara retorts: "Call me anything you want—snake, bitch—but you can never call me a pathetic, boring housewife!" Ram Escaler (Derek Ramsay, middle) is the object of attention of the two feuding characters in No Other Woman.   No Other Woman has been graded A by the Cinema Evaluation Board and rated R-13 by the Movie and Television Review and Classification Board. This Star Cinema and Viva Films co-production is currently being screened in cinemas nationwide.

A film with a storyline of a husband cheating on his wife is formulaic, particularly for Filipino viewers used to romantic dramas that come complete with scathing repartees and frightful catfights.

Quite impressively, this storyline has been seen in Ishmael Bernal's Relasyon (1982, starring Vilma Santos and Christopher De Leon) and in Maryo J. de los Reyes's A Love Story  (2007, starring Aga Muhlach, Maricel Soriano, and Angelica Panganiban).

But Ruel Bayani's No Other Woman (starring Anne Curtis, Cristine Reyes, Derek Ramsay) has its own impressive take on infidelity: Nothing is black and white. Flawed characters can feel perfect love, and perfect characters can feel flawed emotions.

No Other Woman is a tale of a man's journey towards building a career and a family that he can competently provide for, but along the way, his ambition and reputation are tarnished by a single adulterous act.

The film shows how a man fails in the face of temptaion, and how yielding to it can take away everything he has deemed important in his life.

As a cautionary tale, No Other Woman succeeds. At a time when imperfect relationships abound, being reminded that every willful act has its consequences has its place.

But it is to the credit of the director that the film does not rant and rave against extramarital affairs. Instead, the film makes the audience comprehend how and why a man is led to cheat and deceive his wife.

The film does not crucify the husband and the mistress. Rather, it presents them whole—as beautiful, enthralling, provocative human beings who also fall prey to each other's emotional and physical inadequacies.

The film sets the meeting between the dashing furniture salesman Ram Escaler (Derek Ramsay) and the drop-dead gorgeous resort heiress Kara Zalderiaga (Anne Curtis) at a time when Ram is going through a rough phase. While he is at the top of his game in his career, Ram is undermined by a father-in-law who distrusts his abilities and refuses to recognize his efforts to raise a strong family.

To complicate matters, Ram has his inner demons, brought about by his estrangement from his father—the very person he strives not to emulate.

Although his wife Charmaine Escaler (Cristine Reyes) is a doting, responsible, trophy wife who is there for him, Ram is drawn to the headstrong, carefree Kara, whom he crosses paths with during a transaction. His business is to supply furniture to the wealthy Zalderiagas's beach resort. While it was instant attraction for Ram and Kara, Ram initially ignores Kara's charms. He even admits that he is married. But Kara, the carefree soul, retorts: "No consequences. A woman only becomes a mistress 'pag may emotional attachment."

Eventually, Ram gives in. He and Kara engage in torrid casual sex, which becomes Ram's convenient escape from his predicaments. The trouble escalates when their affair develops into an impassioned relationship.

Ram finds that he loves Kara more. He finds that loving her and being loved back in return is effortless and natural. A moving scene is when Ram gives Kara a special gift: a bed he personally designed.

Before this, Kara had explained to Ram that she didn't need a bigger bed because that would only magnify her solitude. He had told her, "A bed is personal...you sleep together, you come home to it."  

The film hits the right lines for a modern audience. The latter can relate with the passion, pain, envy, and resentment that fill the dialogues and scenes.