Pre-colonial Philippines was matriarchal. Women were leaders and had roles as warriors and healers. It was only after the Spanish colonization that gender bias, gender roles, and sexism became prominent in the Philippine society. After that, women were restricted into their homes, reduced into reproductive systems and bodies that they do not have a say to. Our country that has entered another six years of new leadership has never seen progress into how Catholicism is applied since. While the world cries against the Roe v. Wade case overturn, we are still on the issue of conservative church hypocrisy. And as a young Catholic woman, it terrifies me that this will still be the world that my peers and other younger Catholic girls will grow up to and abide by. A CATHOLIC SCHOOLGIRL features Kaya, an adolescent molded in an all-women, religious institution. Her life as a student revolved around unreasonable and bigoted rules which she did not seem to mind at first. Not until her burgeoning feelings for Sister Agnes, her singing coach. But Kaya was neither nearly disappointed nor ashamed of rejection. She was caught in the dissonance between the pedestalled abstinence they were taught and the emotions that she knows she cannot control. She realized that these women who were supposed to guide her growth, became the very people who restricted it. There is a conscious effort to put together a mostly women and queer crew to support the Female Gaze in this film. Scenes will be empathetic and intimate, with a hint of quirkiness and humor. The entire film will capture a claustrophobic system: a Catholic school, adorned by crucifixes and enclosed walls. Apart from mostly indoor scenes, we will use the power of glass as a motif and a metaphor. The tall windows and the presence of breakable containers throughout the film will imitate the entrapment of Kaya and the rest of these women in a jar of false standards. Stained glass windows will also provide color and a refreshing atmosphere to the film. There will be minimal musical score, but intricate sound design will be used to push the story. As such, outside noises like the commanding steps of nuns, haunting clangs of bells, nervous whispers, will be audible enough to create an idea of a bigger and dominating world. Life is outside the boxes that were built to contain Kaya. This time, she needs to make her own noise, so the rest of the world may hear her, a world where only she can decide for herself-not the government, not the church, and not other women. The inception of another Marcos Regime and the backpedal of women’s rights are a huge slap just like Kaya’s. And like her, we should not be discouraged. It is not about what we get in the end, rather, what we do now to resist this system. Potential, in its time, will be most terrifying.