- This article is about the franchise by Toho. For the 2023 unmade film starring Alicia Silverstone, see Justice for Love (2023 film).
- For the American reboot series, see Justice for the World (film series).
| “ | A woman's quest for love leads to the end of human civilization. | „ |
— Official synopsis |
The Justice for Love duology (also known simply as Justice for Alicia duology in the Philippines) is a Japanese-Philippine multimedia franchise that is centered on Alicia Salvacion's life journey, and the imminent human extinction being caused by an asteroid impact. Starring Yasmien Kurdi, and mostly set in San Francisco, the duology was produced by Toho and co-produced by GMA Pictures. It is part of the larger Reiwa series.
The original duology received generally positive reception in the Philippines and has been commercially successful after earning $88 million at the box office, making it one of the highest grossing Toho sci-fi films of the 21st century so far. It was regarded to be responsible of redefining Yasmien Kurdi's acting career, and also helped renew interest in both the disaster film genre, and the real-world discussion of asteroid impact avoidance, culminating with the Double Asteroid Redirection Test (DART), the first successful attempt at asteroid deflection.
A remake duology was produced by Skydance Media from 2050 to 2051. The two films were written, produced and directed by Greta Gerwig, and starred Amber Midthunder, Miles Teller and Elle Fanning. It was heavily acclaimed for its faithfulness to the source material, by following the beats of the Toho entries, as well as its visual effects and sound design.
A follow-up film, acting as a tie-in to both the original 2020 film and the 2050 remake, was written, directed and produced by Dean Devlin. It is currently the latest installment in the series made by an American studio. It was released to mixed reviews, and was a moderate success at the box office, despite grossing the lowest out of all American entries.
Development[]
Original duology[]
The concept originated from the 2013 Chelyabinsk meteor event, and the lack of films that visualized the possible effects of a large asteroid impact. Due to the incident, interest in asteroid impact events have drawn renewed attention, while Japanese studio Toho considered producing a science-fiction film that focuses on such event, with the Cretaceous–Paleogene extinction event serving as the main inspiration for the film. Toho's previous sci-fi film at that time was the 2006 remake of Sinking of Japan, which received mixed reviews.
To differentiate it from Sinking of Japan, it was decided to depict the asteroid threat as if it were a real event, by taking inspiration and influences from real impact events. The film's screenplay was adapted from The Last War, albeit replacing the nuclear warfare theme with impact events on Earth. Meanwhile, GMA Pictures is responsible for adding elements from the Philippine drama genre, with the story being loosely based from the 2014 series Rhodora X.
Following the conclusion of Justice for Love Presents: The Obsession and the release of The Final Moments short film, GMA Pictures' three-year license to the Justice for Love trademark expired in May 2022, and GMA Network allowed their rights to revert back to Toho, giving Toho the full control of the Justice for Love copyright/trademark. However, GMA Pictures retained the rights to distribute the American entries in the Philippines.
American reboot series[]
- Main article: Justice for the World (film series)
Following a failed attempt to remake the original film in 2023, Legendary Pictures bought the rights to the franchise, and produced a reboot series with Roland Emmerich's Centropolis Entertainment. The first four entries received mixed to negative reviews, for its weak screenplay and lack of faithfulness to the original film. However, it received many award wins and nominations for its visual effects and sound design.
Starting with the fifth installment, starring and produced by Tom Cruise, it received more positive reviews, and, on top of the accolades for its technical work, received praise for its writing, direction and faithfulness to the source material.
The franchise continued with four spin-off entries, starring and produced by Vin Diesel, and each received extremely negative reviews from critics, stating how, despite its action and spectacle, it reverted back to the unfaithfulness to its source material. The last spin-off entry lost the studios $150-170 million, which promptly made Legendary revert the rights back to Toho.
Remake duology[]
Greta Gerwig, director, producer and writer of the first remake film, and producer and writer of the second remake film[note 2]
In early 2040, Greta Gerwig pitched a script that she co-wrote with James Vanderbilt, who wrote Blood Moon: Justice for the World, to Skydance Media founder, chairman and lead producer, David Ellison, about a potential remake; it will serve as a direct adaptation of the first film and the television series, directly adapting the story; the only significant change made was the age of the characters increasing by at least 20 years, which Gerwig considered an "interesting turn of events". After Justice: The Alien Hammer underperformed at the box office, and Legendary reverted the franchise's rights to Toho, Skydance immediately bought the license from the company.
Marc Webb, director of the second remake
Realizing their script would run at least 300 minutes, and wanting to be faithful to the two Toho entries, the two agreed to split the film into two parts, with the second entry serving as a prequel entry. The two brought in additional writers to revise and redo the screenplay to make it work into two parts. Michael Green co-wrote the first film, and Dean Devlin and Jonathan Glassner co-wrote the second film.
Gerwig, upon realizing how "challenging and expensive" the first film would already be (being her most expensive film ever at $210 million), hired Marc Webb, whom previously collaborated with her for 2024's Snow White. Gerwig was still attached as producer, however, and she became director again for post-production, once Webb had moved on from the film's principal photography.
Tie-in sequel[]
With Skydance Media's rights to Justice for Love expiring in 2050, director Dean Devlin, producer of the remake duology by Greta Gerwig, quickly wanted to make a sequel to the duology, after expressing his pride for his Academy Award nominations for Best Picture and Best Adapted Screenplay. Originally supposed to be a short film, Devlin expanded his screenplay with Jonathan Glassner, to make it a feature-length film. He settled on an action-thriller film, with a lone survivor attempting to find refuge in a bunker shelter from an ever-erupting Earth.
Upon rewatching the original film from 2020, Devlin realized it can tie into both the original and the remake, and slightly rewrote the film to fit into both the original and the remake's timelines.[note 3] While Toho has officially acknowledged that The Aftermath is actually canon to the original series, notable employees had mixed responses to it.
Entries[]
| No. | Entry | Release date | Director | Screenwriter(s) | Story by | Producers |
|---|---|---|---|---|---|---|
| Original duology | ||||||
| 1 | #JusticeForLove: End of the World | December 25, 2020 | Gina Alajar | Ryuhei Kitamura and Masato Kato | Des Garbes-Severino, Maria Zita S. Garganera, and Suzette Doctolero | Darling Pulido-Torres and Shusuke Kaneko |
| 2 | Justice for Love Presents: The Obsession | September 13, 2021 - December 10, 2021 | Don Michael Perez | Des Garbes-Severino, Maria Zita S. Garganera, and Suzette Doctolero | Mona Coles-Mayuga | |
| Remake duology | ||||||
| 1 | Justice for Love: The End of the World | November 17, 2045 | Greta Gerwig | Greta Gerwig & James Vanderbilt and Michael Green | Greta Gerwig & James Vanderbilt | Greta Gerwig, James Vanderbilt, David Ellison, Dana Goldberg, Don Granger and Dean Devlin |
| 2 | Justice for Love: Chapter Zero | November 2, 2046 | Marc Webb[note 2] | Greta Gerwig & James Vanderbilt and Dean Devlin & Jonathan Glassner | ||
| Tie-in sequel | ||||||
| 1 | Justice for Love: The Aftermath | October 22, 2049 | Dean Devlin | Dean Devlin & Jonathan Glassner | David Ellison, Dana Goldberg and Dean Devlin | |
Original duology[]
#JusticeForLove: End of the World (2020)[]
- Main article: Justice for Love: End of the World
In 2020, a woman named Mylene arrives in San Francisco with her family in an attempt to reunite with her sister, but accidentally rescues a depressed woman named Alicia. When Mylene is accused for a crime she never committed, it's up to Alicia to clear Mylene's name while attempting to reunite with her mother in Manila, before a 10-kilometer asteroid impacts Earth and cause an extinction-level event.
The concept originated from the 2013 Chelyabinsk meteor event, and the lack of films that visualized the possible effects of a large asteroid impact, with the Cretaceous–Paleogene extinction event serving as the main inspiration for the film. The film's screenplay was adapted from the 1961 film The Last War. The film became a co-production with GMA Pictures following the success of 2018's The Return of Godzilla.
Justice for Love Presents: The Obsession (2021)[]
- Main article: Justice for Love Presents: The Obsession
Two years before the events in San Francisco, Alicia wakes up in Saipan, Northern Mariana Islands after a two-year coma. Richard, an American soldier, and Lolita, his Filipino wife, asks what happened to her and where she came from. Alicia then recalls the events which led her to this point, depicting her life story from 1997 until 2020, from Manila to San Francisco.
Following the criticism regarding the underwritten characters and the film's running time, GMA Network opted to produce a prequel series to the film. The series' principal photography suffered through multiple issues, including the COVID-19 pandemic and schedule conflicts. The series was produced completely by GMA Network, with Toho only distributing the series internationally.
Remake duology[]
Justice for Love: The End of the World (2043)[]
- Main article: Justice for Love: The End of the World
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To be added.
Justice for Love: Chapter Zero (2044)[]
- Main article: Justice for Love: Chapter Zero
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“I knew that 『plot』 wasn't up to much.” This plot synopsis is missing or incomplete. Please help by editing this section. |
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To be added.
Tie-in sequel[]
Justice for Love: The Aftermath (2049)[]
- Main article: Justice for Love: The Aftermath
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“I knew that 『plot』 wasn't up to much.” This plot synopsis is missing or incomplete. Please help by editing this section. |
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To be added.
Cancelled or scrapped entries[]
Untitled second Justice for Love Presents series[]
Due to the high ratings received by Justice for Love Presents: The Obsession, GMA Network was already planning for a sequel while the series was still airing, intending to turn the Justice for Love Presents into an anthology series, similar to Mano Po Legacy. However, this concept was scrapped for unknown reasons. If made, it would have been the second installment of Justice for Love Presents series.
Paramount remake[]
- Main article: Justice for Love (2023 film)
In late 2021, Paramount Pictures became interested in doing an American remake of #JusticeForLove: End of the World, following the unprecedented success of the original film and the release of Don't Look Up. To maintain authenticity and continuity with the original film, the setting is changed to New York City, with the film keeping the general plot and characters. The studio initially hired Amy Heckerling to direct the film, and Chris Sparling to write the film's screenplay.
For the lead role, Alicia Silverstone was approached, and Rachel Blanchard was also considered for a role in the film. However, Heckerling later left the project, due to disagreements over the film's screenplay, and was replaced by John Krasinski. A concept poster depicting a deserted Times Square was later released in the United States to generate interest for the project, while Sparling began rewriting the film's screenplay, hoping to turn the project into a serious apocalyptic film.
However, the studio would soon learn that Toho signed a deal with Legendary Pictures instead to produce their own remake of the film with a 2026 release date. Paramount proceeded to sue both Toho and Legendary for the rights to the Justice for Love duology, claiming that they had a written contract to produce their own remake; however, Toho denied such a deal. Eventually, a federal judge ruled that Legendary did in fact have the rights to produce an American remake of the film, forcing Paramount to abandon its plans for the film.
Crew[]
| No. | Entry | Executive producers | Director of photography | Production designer | Edited by | VFX supervisor |
|---|---|---|---|---|---|---|
| Original duology | ||||||
| 1 | #JusticeForLove: End of the World | Lilybeth G. Rasonable, Winnie Hollis-Reyes, Mona Coles-Mayuga and Kazuya Hamana | Kosuke Yamada and Taro Kawazu | Yasuaki Harada and Yukiharu Seshimo | Hiroshi Okuda | Eiichi Asada and Makoto Kamiya |
| 2 | Justice for Love Presents: The Obsession[note 4] | Winnie Hollis-Reyes | ||||
| Remake duology | ||||||
| 1 | Justice for Love: The End of the World | Ute Emmerich, Rachel O'Connor and Tom Cohen | Mandy Walker | Jess Gonchor | Mark Sanger | Tim Burke |
| 2 | Justice for Love: Chapter Zero | John Schwartzman | Mark Friedberg | Pietro Scalia | Jerome Chen | |
| Tie-in sequel | ||||||
| 1 | Justice for Love: The Aftermath | Ute Emmerich, Don Granger, Greta Gerwig, James Vanderbilt, Tom Cohen and Jonathan Glassner | Roberto Schaefer | Kirk M. Petruccelli | Ron Rosen | Colin Strause |
Companies[]
| No. | Entry | Production companies | Distributor companies | Visual effects companies |
|---|---|---|---|---|
| Original duology | ||||
| 1 | #JusticeForLove: End of the World | Toho Co. Ltd., GMA Pictures | Shirogumi, Moving Picture Company | |
| 2 | Justice for Love Presents: The Obsession[note 4] | GMA Network | GMA Network, Toho Co. Ltd. | N/A |
| Remake duology | ||||
| 1 | Justice for Love: The End of the World | Centropolis Entertainment, Skydance Media, Electric Entertainment, Mythology Entertainment | Warner Bros. Pictures, Toho Co. Ltd., GMA Pictures | Moving Picture Company, DNEG, Rodeo FX, Sony Pictures Imageworks |
| 2 | Justice for Love: Chapter Zero | Sony Pictures Imageworks | ||
| Tie-in sequel | ||||
| 1 | Justice for Love: The Aftermath | Centropolis Entertainment, Skydance Media, Electric Entertainment | Warner Bros. Pictures, Toho Co. Ltd., GMA Pictures | Electric Visual Effects, Hydraulx, DNEG |
Timeline[]
- Main article: Timeline (Justice for Love duology)
Setting[]
- Main article: List of locations in Justice for Love duology
The duology mostly takes place in two locations, across the Pacific Ocean: Manila, Philippines and San Francisco, California. Additional locations include Saipan, Northern Mariana Islands, and Honolulu, Hawaii.
Influences[]
The duology is heavily inspired by multiple impact events that took place in Earth's history, such as the Cretaceous–Paleogene extinction event, which is known for wiping out the non-avian dinosaurs 66 million years ago, following the impact of a 10 to 15 kilometer asteroid in the Gulf of Mexico's Yucatán Peninsula. Other events include the 1908 Tunguska event, the largest impact event in recorded history, and the more recent 2013 Chelyabinsk meteor event.
The story appears to be greatly influenced by the 2014 series Rhodora X, as many aspects in Alicia's story share similarities with the series, most notably in the prequel series. Yasmien Kurdi's character in the duology, Alicia Salvacion, is also heavily based on Angela Ferrer, Kurdi's character in the series.
The 2019 series Bihag served as the main influence for Mylene's story and her role in the duology. Both the series and the duology feature a scenario in which Isabelle Abiera's character gets framed for murder. Also, Jade Lopez's role in both the duology and the series is exactly the same.
Other influences on the duology are:
- Hiram na Anak ― The streetcar accident scene bear similarities to the one shown in the series.
- Hindi Ko Kayang Iwan Ka ― Alicia's suicide attempt on the Golden Gate Bridge is based on a scene in the series' 42nd episode.
- Melancholia ― The duology's depression theme was heavily based by this film. Both also feature a depressed woman as the lead protagonist, while Earth is threatened by a large impact event (a rogue planet in Melancholia while an asteroid in #JusticeForLove: End of the World).
- Seeking a Friend for the End of the World ― Some elements of the duology share similarities with the film, such as Mylene befriending Alicia while an asteroid threatens Earth, and the story focusing only on specific individuals during a global catastrophe. Also, both have "End of the World" on their titles.
- The Last War ― The duology's screenplay was adapted from this film. Both the film and the duology also end at the same way, depicting the ruins of a major city (Tokyo in The Last War and San Francisco in #JusticeForLove: End of the World) before showing a disclaimer stating that the events depicted in the film is a work of fiction that could happen in reality.
Themes[]
The duology uses overlapping themes and metaphors to depict its story and as a way for the audience to interpret the asteroid impact in their own liking.
- Human arrogance – The contemporary human civilization is constantly depicted as arrogant and destructive, as shown from Alicia's perspective, in which everyone, even her own family and relatives, despised her for various reasons related to self-importance. The extinction of the human race, and the destruction of its civilization, parallels Alicia's miserable life, albeit on a global scale; human accomplishments were easily destroyed in an instant, just like what Alicia experienced in her personal life, such as the Empire State Building being destroyed during the firestorm sequence.
- Human extinction – In this view, the human race is seen as a failed species, the rise of civilization and technological advancement only resulted in increasingly impacting Earth's environment in a negative way, such as rapid population growth, overconsumption, overexploitation, pollution, and deforestation. A decline in biodiversity and changes in Earth's climate is observed while human civilization continues to expand rapidly. The impending impact event is interpreted as a way to restart Earth's biodiversity, without the human race and allowing surviving species to take on new forms, just like what happened with the Cretaceous–Paleogene extinction event 66 million years ago.
- Depression – The impact event could be an obvious metaphor for depression, just like with the 2011 film Melancholia. Throughout the story, each of the events depicted appears to parallel with Alicia's worsening health condition. The asteroid threat is first discovered at the same time Alicia meets Mylene, which prevented her from commiting suicide; the destruction of Tokyo takes place right after Ethan kidnaps Alicia; Mylene is framed when Alicia is about to leave San Francisco; the asteroid deflection plan fails after Alicia blames Mylene for her mother's death; and the impact event being shown after Alicia wishes for a second chance. The destruction of the Empire State Building during the firestorm sequence symbolizes the inevitability of depression, as the building was originally a symbol of hope during the Great Depression.
- Apocalypse eschatology – The impending impact event is also used as a metaphor for Christian beliefs regarding the Last Judgment. In this case, Alicia's miserable life reached its climax when she is diagnosed with internal bleeding in her brain, and is later rewarded with a chance to start anew with the people who actually loved her, while the rest of the human race is punished for despising Alicia, by having the asteroid impact Earth and wipe out their civilization. The original ending further depicts this theme, showing Alicia reuniting with her loved ones in the afterlife, but is removed in the international version.
- Asteroid impact avoidance – The film depicts the threat of impact events on Earth, serving as a cautionary tale to the viewers and showcasing the importance of asteroid impact avoidance. A disclaimer at the end of the film is added, stating that the events depicted is a work of fiction that could happen in reality, warning the audience to work together as a species to avoid extinction, like what happened to the non-avian dinosaurs during the Cretaceous–Paleogene extinction event 66 million years ago.
Cast and characters[]
- Main article: List of characters in Justice for Love duology
Original duology[]
List indicator(s)
This section shows characters who will appear or have appeared in the billing block of at least one entry in the series.
- An empty, dark grey cell indicates the character was not in the film, or that the character's official presence has not yet been confirmed.
- A indicates an appearance through archival footage.
- C indicates a cameo role.
- E indicates an appearance not included in the theatrical cut.
- Y indicates a younger version of the character.
| Character | Portrayed by | Appearances | |||
|---|---|---|---|---|---|
| #JusticeForLove: End of the World | Justice for Love Presents: The Obsession | The Final Moments | Asteroid Clara[note 5] | ||
| Alicia Salvacion | Yasmien Kurdi | Main | |||
| Ethan Salvacion | Martin del Rosario | Main | |||
| Mylene Concepcion | Max Collins | Main | GuestC | Recurring | Main |
| Clara Young | Rebecca Rittenhouse | MainE | Main | ||
| Lorraine "Lori" Jones | Rose Byrne | Also starring | Also starring | ||
| Andrea Concepcion | Ivana Alawi | Also starring | Also starring | ||
| Gregorio Soriano | Jay Manalo | Also starring | Also starring | ||
| Romina Salvacion | Jean Garcia | Also starring | Also starring | ||
| Corazon "Cora" Salvacion | Lovely Rivero | Also starring | |||
| Stephanie "Steffi" Perez | Jade Lopez | Recurring | Recurring | ||
| Cristina Alvarez | Empress Schuck | Recurring | Recurring | ||
| Alex Siccion | Jason Abalos | Recurring | Recurring | ||
| Jessica Morgan | Gabriella Wilde | RecurringE | Recurring | ||
| Olivia Imperial | Ysabel Ortega | Recurring | Recurring | ||
| Nathan "Nate" Castillo | Mikael Daez | Recurring | Recurring | ||
| Eileen Salcedo | Reese Tuazon | Recurring | Recurring | ||
| Catherine "Cathy" Reyes | Sunshine Cruz | Recurring | |||
| Veronica Castillo | Sheryl Cruz | Recurring | |||
| Richard Adams | Jestoni Alarcon | Recurring | |||
| Lolita Morales | Angelu de Leon | Recurring | |||
| Doña Agnes Castillo | Celia Rodriguez | Recurring | |||
| Adrian | Dion Ignacio | Guest | Recurring | ||
| Lynette | Kris Bernal | GuestE | Recurring | Guest | |
| Raymond Salvacion | Alfred Vargas | Guest | |||
| Lourdes | Tina Paner | Guest | |||
| Jenna | Pauline Mendoza | Guest | |||
| Melissa Santos | Carmina Villarroel | Guest | |||
| Darlene | Denise Barbacena | Guest | |||
Remake duology[]
List indicator(s)
This section shows characters who will appear or have appeared in the billing block of at least one entry in the series.
- An empty, dark grey cell indicates the character was not in the film, or that the character's official presence has not yet been confirmed.
- A indicates an appearance through archival footage.
- C indicates a cameo role.
- E indicates an appearance not included in the theatrical cut.
- Y indicates a younger version of the character.
| Character | Portrayed by | Appearances | ||
|---|---|---|---|---|
| Justice for Love: The End of the World | Justice for Love: Chapter Zero | Justice for Love: The Aftermath[note 6] | ||
| Alicia Salvadore | Amber Midthunder | Main | ||
| Ethan Salvadore | Miles Teller | Main | ||
| Clara Young | Elle Fanning | Main | ||
| Michelle Constantine | Rachel Weisz | Main | ||
| Gregory Sim | Dylan Sprayberry | TBA | ||
| Lorraine Jones | Jennifer Lawrence | TBA | ||
| Andrea Constantine | TBA | TBA | ||
| Romania Salvadore | TBA | TBA | ||
| Cory Salvadore | TBA | TBA | ||
| Stephanie Paramount | TBA | TBA | ||
| Christine Alvarez | TBA | TBA | ||
| Olivia Imperial | Kathryn Newton | TBA | ||
Reception[]
Box office performance[]
| Entry | Philippines | U.S. and Canada | Other territories[note 7] | Worldwide | Budget |
|---|---|---|---|---|---|
| #JusticeForLove: End of the World | $11,000,000[note 8] | $5,000,000 | $83,000,000 | $88,000,000 | $5 million |
| Asteroid Clara[note 5] | $3,700,000 | $3,700,000 | $7 million | ||
| Justice for Love: The End of the World | TBA | $610,085,092 | $793,838,386 | $1,403,923,478 | $210 million |
| Justice for Love: Chapter Zero | TBA | $357,930,663 | $508,982,323 | $866,912,986 | $115 million |
| Justice for Love: The Aftermath | TBA | $176,600,160 | $196,567,262 | $368,134,524 | $110-145 million |
| Total | TBA | $1,153,325,317 | $1,582,387,971 | $2,735,713,288 | $447-482 million |
| Total gross with the Justice for the World film series | |||||
| Justice for Love duology | TBA | $1,153,325,317 | $1,582,387,971 | $2,735,713,288 | $447-482 million |
| Justice for the World film series | TBA | $2,675,843,346 | $4,643,728,154 | $7,319,571,500 | $1.945-2.040 billion |
| Total | TBA | $3,829,168,663 | $6,226,116,125 | $10,055,284,788 | $2.392-2.522 billion |
Critical and public response[]
| Entry | Runtime | Rotten Tomatoes | Metacritic | CinemaScore | PostTrak |
|---|---|---|---|---|---|
| #JusticeForLove: End of the World | 158 minutes | 70% (72 reviews) | 67 (24 reviews) | A | |
| Justice for Love Presents: The Obsession[note 4] | 25-30 minutes (each episode) | ||||
| Asteroid Clara[note 5] | 164 minutes | 56% (88 reviews) | 49 (22 reviews) | C+ | |
| Justice for Love: The End of the World | 146 minutes | 92% (472 reviews) | 82 (66 reviews) | A | 94% |
| Justice for Love: Chapter Zero | 185 minutes | 85% (438 reviews) | 74 (62 reviews) | B+ | 83% |
| Justice for Love: The Aftermath | 116 minutes | 62% (399 reviews) | 46 (57 reviews) | B+ | 79% |
Accolades[]
| Academy Awards | |||
|---|---|---|---|
| Categories | Justice for Love: The End of the World | Justice for Love: Chapter Zero | Justice for Love: The Aftermath |
| Best Picture | Won | Nominated | |
| Best Director | Won | Nominated | |
| Best Adapted Screenplay | Won | Nominated | |
| Best Actor | Nominated (Miles Teller) | ||
| Best Actress | Won (Amber Midthunder) | ||
| Best Supporting Actress | Won (Elle Fanning) | ||
| Best Cinematography | Won | Nominated | |
| Best Production Design | Nominated | Nominated | |
| Best Film Editing | Won | Nominated | |
| Best Sound | Nominated | Nominated | |
| Best Visual Effects | Won | Nominated | |
| BAFTA Awards | |||
| Best Film | Won | Nominated | |
| Best Direction | Won | Won | |
| Best Adapted Screenplay | Nominated | Nominated | |
| Best Actor in a Leading Role | Won (Miles Teller) | ||
| Best Actress in a Leading Role | Nominated (Amber Midthunder) | ||
| Best Actress in a Supporting Role | Won (Elle Fanning) | ||
| Best Cinematography | Won | Won | |
| Best Production Design | Nominated | Nominated | |
| Best Sound | Won | Nominated | |
| Best Special Visual Effects | Won | Nominated | Nominated |
Tie-in material[]
Films[]
| Entry | Release date | Length | Director | Screenwriter(s) | Story by | Producers | Notes |
|---|---|---|---|---|---|---|---|
| The Final Moments | March 18, 2022 | 16 minutes | Rechie del Carmen | Des Garbes-Severino | Nieva Sabit | Standalone short film | |
| Asteroid Clara | November 3, 2026 | 164 minutes | Gina Alajar | Ryuhei Kitamura and Masato Kato | Des Garbes-Severino, Maria Zita S. Garganera, and Suzette Doctolero | Darling Pulido-Torres and Shusuke Kaneko | Tie-in film to Justice for the End of the World |
Books and comics[]
| Title | Release date | Writer(s) | Illustrator(s) | Cover artist(s) | Notes |
|---|---|---|---|---|---|
| #JusticeForLove: End of the World - The Official Movie Novelization | November 18, 2020 | Ryuhei Kitamura and Masato Kato | Tie-in novelization to #JusticeForLove: End of the World | ||
| Emily: A Clueless Look at the Apocalypse | July 19, 2025 | Amy Heckerling & Chris Sparling | Drew Edward Johnson | Arthur Adams | Adapted from the scrapped screenplay Emily and the Apocalypse and a loose spin-off to Clueless Tie-in graphic novel to Justice for the End of the World |
Soundtracks[]
| Title | Release date | Length | Composer(s) | Label |
|---|---|---|---|---|
| Justice for Love: Original Motion Picture Soundtrack | September 20, 2021 | 34:50 | Shiro Sagisu | Toho Music |
| Justice for Love: The End of the World - Original Motion Picture Soundtrack | October 22, 2043 | TBA | Benjamin Wallfisch and Tom Holkenborg | WaterTower Music |
| Justice for Love: Chapter Zero - Original Motion Picture Soundtrack | October 6, 2044 | TBA | ||
| Justice for Love: The Aftermath - Original Motion Picture Soundtrack | October 20, 2049 | TBA | Joe Kraemer |
Singles[]
| Title | Year | Performed by | Label | Notes |
|---|---|---|---|---|
| "Huwag Susuko" (lit. Never Give Up) |
2021 | Yasmien Kurdi | GMA Music | Theme song of Justice for Love Presents: The Obsession |
| "Ito Na Ba Ang Katapusan?" (lit. Is This The End?) |
2026 | Maricris Garcia | As part of Asteroid Clara |
Legacy[]
The unprecedented success of the duology received diverse critical responses, from redefining Yasmien Kurdi's acting career, to the real-world discussion of asteroid impact avoidance.
Yasmien Kurdi[]
- Main article: Start-Up PH
- Main article: Godzilla: The Kaiju Invasion
Yasmien Kurdi was highly praised by an international audience and critics for her acting and performance, not only in the film, but also in the prequel series that followed. Following the conclusion of the duology, Kurdi won and nominated multiple awards in 2022 alone, ranging from Best Actress, to Significant/Remarkable Actress of the Year. The success of the duology also led to Kurdi being continuously cast in major projects by GMA Network, putting her on the forefront of Filipino actresses. Notable projects following the Justice for Love duology that features Kurdi includes the Philippine adaptation of Start-Up, and Godzilla: The Kaiju Invasion. The Philippine adaptation of Start-Up in particular, quickly became the most anticipated Philippine television series of 2022, partly due to the phenomenal success of the Justice for Love duology which introduced Kurdi to an international audience. In a coincidence, Start-Up PH premiered on the same day DART made impact on Dimorphos.
Ysabel Ortega[]
- Main article: What We Could Be
- Main article: Voltes V: Legacy
The success of #JusticeForLove: End of the World led to Ysabel Ortega being recognized by a larger audience, with the film serving as a breakthrough in her own career. Shortly after the film's release, Ortega was given two prominent projects in GMA Network, including Voltes V: Legacy, which is based on the Japanese anime series by Toei Animation, and in the romantic-drama series What We Could Be in her first lead role, while the series marked the first co-production between GMA Network and Quantum Films.
Disaster film genre[]
- Main article: Don't Look Up (2021 film)
The duology, particularly the original film, is sometimes considered as a significant turning point in the recent history of the disaster film genre, as the film was at the forefront of the disaster and sci-fi resurgence of the early 2020s, in the midst of the COVID-19 pandemic. It led to similar works in cinema, television, video gaming and other media as well, not seen since the 2012 phenomenon. The film is often credited for the return of impact events in popular culture, as later films like Don't Look Up heavily borrowed elements from the Justice for Love duology, using the impact event depicted in #JusticeForLove: End of the World as a metaphor for climate change.
Asteroid impact avoidance & climate change[]
- Main article: Double Asteroid Redirection Test
The international success of #JusticeForLove: End of the World, along with the release of Don't Look Up a year later, helped raise awareness not only on the real-world discussion of asteroid impact avoidance, but also climate change as well. Astronomers praised #JusticeForLove: End of the World for its realistic depiction of a large asteroid impact, and noted its accuracy for depicting the Cretaceous–Paleogene extinction event in contemporary times, while Don't Look Up recieved positive opinions from climate scientists regarding the effects of climate change. Discussions regarding asteroid impact avoidance culminated with the Double Asteroid Redirection Test (DART) mission in 2021, the first ever attempt on deflecting an asteroid. The mission is considered a success after Dimorphos' orbital period was shortened by 32 minutes, surpassing the success threshold of 73 seconds.
Notes[]
- ↑ Loosely based only, not credited since it was judged as being different enough to not require it.
- ↑ 2.0 2.1 While Marc Webb was credited as director, he left directing post-production, weeks after principal photography wrapped. Greta Gerwig supervised and directed most of post-production, with Webb coming back in the last two weeks before the film was fully completed.
- ↑ #JusticeForLove: End of the World ends with a look at the destroyed Earth 30 years later. Because the future was left ambiguous, and fitting the time frame of when production for The Aftermath ran, Devlin wrote the film to "be canon" in both the original duology's timeline and the remake duology's timeline; Devlin considered the film a "soft-rebooting sequel," comparing it to Terminator Salvation from 2009.
- ↑ 4.0 4.1 4.2 Justice for Love Presents: The Obsession is a television series.
- ↑ 5.0 5.1 5.2 Asteroid Clara is only a heavily re-edited version of #JusticeForLove: End of the World.
- ↑ While, officially, the film takes place after the events of the remake duology, Devlin wrote the film to fit the continuity of both the remake duology and the original duology from the 2020s. Due to some cast members reprising their roles from the remake duology, and for the article's sake of consistency, The Aftermath will be lumped into the section of the remake duology.
- ↑ This includes the gross from the Philippines.
- ↑ ₱677 million in Philippine peso, making it the highest grossing Philippine film of 2020, and the third-highest grossing Philippine film at the time.
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