A CATHOLIC SCHOOLGIRL

这是卡雅第一次坠入爱河。作为一所全女子天主教学校的优秀学生，她却对阿格尼丝修女心动了，而阿格尼丝即将被派往远方的省份。随着阿格尼丝离去之日临近，卡雅想要告白的冲动愈发强烈。

It’s the first time KAYA experienced falling in love. As one of the finest students of an all-girls Catholic school, she is ungodly to develop a crush on SISTER AGNES—a nun who will soon be destined to a province faraway. Kaya’s urge to confess intensifies as Sister Agnes’ departure nears.

导演：米拉·安吉琳·索里亚索
编剧：米拉·安吉琳·索里亚索
主演：香农·伊多恩、奥拉·帕伦西亚
制片人：廷·维拉斯科
摄影：马尔蒂卡·埃斯科巴尔
类型：剧情短片
时长：18分钟
完成时间：2023年
对白语言：希利盖农语、菲律宾语
地区：菲律宾
制片公司：南灯工作室

Director: Myra Angeline Soriaso
Screenwriter: Myra Angeline Soriaso
Cast: Sharon Idone, Ora Palencia
Producer: Tin Velasco
Cinematographer: Martika Escobar
Genre: Short feature film
Length: 18 min
Year: 2023
Dialogue: Hiligaynon, Filipino
Region: Philippines
Production Company: Southern Lantern Studios

米拉（Myra）是一位22岁的学生电影创作者，2018年八月，她在菲律宾伊洛伊洛电影中心发现了自己讲故事的天赋。2021年，她与好友简（Jane）和凯特雅（Katya）共同创作的第一部短纪录片Panambi在伊赫拉瓦国际电影节首映。《天主教女孩之恋》是她第一部剧情片，此片是今年的QCShorts项目之一，同时也是Globe Prepaid的GoWATCH Film Lab资金的获得者。

Myra is a 22-year-old student filmmaker who found her knack for storytelling after discovering Cinematheque Centre Iloilo in August 2018. In 2021, her first short documentary Panambi, co-created with her besties Jane and Katya, premiered internationally at the prestigious Ji.hlava International Film Festival. Now, she will debut as a fiction filmmaker in this year’s QCShorts with A Catholic Schoolgirl, which is also the recipient of Globe Prepaid’s GoWATCH Film Lab seed grant.

前殖民时代的菲律宾曾是母系社会。女性担任领导者的角色，同时她们也是战士和医生。但经过西班牙的殖民之后，性别偏见、性别分工以及性别歧视等问题笼罩菲律宾社会。从此，女性被限制在她们的家中，被捆绑在生育的宿命下。尽管我们国家进入新的领导任期已经六年了，但仍未在突破天主教方面有太大的进取。当全世界都在为罗诉韦德案被推翻而摇旗呐喊时，我们还在为保守教会的虚伪而苦恼。作为一位年轻的天主教女性，让我恐惧的是，我的同伴和更年轻的天主教女孩仍然要在这样的世界里成长，并服从于它。

《天主教女孩之恋》讲述了少女Kaya的故事，她在女子天主教学校长大。她的校园生活笼罩在压抑的规则下，而一开始她并不在意这些规则。直到她对她的声乐教师——修女阿格尼斯的感情日渐充盈。但Kaya在遭受拒绝后既非失望，也不感到羞愧。她陷入了失序，一边是被灌输的崇高的禁欲主义美德，另一边则是她自己无法抑制的情感。她发现那些本该引导她成长的女教师，成为了限制她成长的人。

我们有意地组建了一个基本由女性和酷儿构成的剧组，来支撑影片的女性凝视视角。场景富有细腻亲密的情感触觉，同时也暗涌乖张幽默。整部影片抓住了一种幽闭的氛围：一所天主教学校，充满了十字架和密室。除了大多数的室内场景，我们也用镜子作为一种主题呈现和修辞方法。高窗和易碎容器在全片多次出现，暗示Kaya和其他女学生受困于一个由错误标准构成的罐子里面。此外还有极简的配乐，以及复杂的声效设计来推进故事。例如，室外噪音比如修女急促的脚步声，鬼魅的钟声，令人烦躁的细语等等，用声音建构了一个更大的世界。真正的生活存在于Kaya所困在的罐子之外。这一次她要发出自己的声音，并让世界所听到。这是一个自己能主导自己的世界，而不是政府、教会，或是其他女人。

马科斯式的威权政权的重新上台，和女性权益的大倒退，就像扇在我们脸上一记耳光，正如Kaya所遭受的那样。但我们也应该像她一样，不必感到沮丧。重要的不是最终的结果是什么，而是我们做出了怎样的行动，去抵抗这样的体制。这一次，潜能将是惊人的。

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.