Hello, Love, Again is a 2024 Philippine romantic drama film directed by Cathy Garcia-Sampana from a script by Carmi G. Raymundo and Crystal Hazel San Miguel; filmmaker Olivia Lamasan is credited among the story writers.

The sequel to Hello, Love, Goodbye (2019), it stars Kathryn Bernardo and Alden Richards, alongside Joross Gamboa, Valerie Concepcion, and Jennica Garcia.

[2][3][4] The film received positive reviews from critics and is a commercial success, earning ₱1.4 billion in box office and becoming the highest-grossing Filipino movie of all time.

News of their renewed relationship sparks excitement among their friends and family back home and in Hong Kong, unaware that they are entering into a sham arrangement.

Screenwriters Carmi Raymundo and Crystal San Miguel narrate Bernardo and Richards' blooming romance amid their hardships and challenges as OFWs.

On May 19, 2024, ABS-CBN and GMA executives held a joint press conference of the upcoming film, showing the start of the movie collaboration between the two media companies.

[9][10] In June, Joross Gamboa, who was cast in the prequel movie Hello, Love, Goodbye, shared photos and videos in social media with fellow actors Alden Richards and Jeffrey Tam in Hong Kong for the shooting.

[16] On September 25, 2024, Star Cinema through its social media platforms, shared the movie's first teaser which garnered more than 10 million views in the first six hours after its release.

[22] A day before its general release, a red carpet world premiere was held at SM Megamall and was attended by the film's cast and crew members including the lead stars Kathryn Bernardo and Alden Richards, and director Cathy Garcia-Sampana.

[31] The movie also set the record for the largest opening weekend ever for a Filipino film in the United States and Canada, earning a total of US$2.4 million and finishing in eighth place.

He stated that in spite of its earnestness, "the film exhibits something of a split personality by awkwardly moving between cutesy soap operatic romance and an unsparing, oft-devastating portrait of the myriad hurdles facing foreign workers.... [Bernardo and Richards'] scenes together can feel unfocused solely because they're needlessly drawn out.

Plus, the various plot complications that hinder their inevitable reconciliation, like a half-forgotten love triangle or Joy's impulsive decision to accept Ethan as a common-law partner, generally feel like caricatured dramatic obstacles.

"[40] Jason Tan Liwag, writing for Rappler, praised the film's acting, editing, and cinematography while criticizing its portrayal of the Filipino community in Calgary as "underdeveloped".