EXPOSITION AUDIO VIDEO REMARKS

Scene 1 Birds chirping, trees howling, sound of the leaves being Camera captures the green scenery, mainly focusing on the
stepped on ambiance. Then it switches to the fingers of Gieana from the
past, grabbing a handful of dried leaves to stimulate force as
she grunts. Camera switches to her face; her countenance is
laced with confusion as her brows furrow. Gieana’s skin is all
doused with dirt and soil as though she came from a long,
strenuous journey.

Camera captures a wide angle, putting emphasis on Gieana’s

situation.

The camera explored Gieana’s wardrobe, hinting about

Gieana’s origin. It captures her tattered clothes, then to her
dirty skin until it reaches her tangled hair. She is a complete
mess and so is troubled, and confused.

The camera captures how she rapidly moves upward with her
upper body, getting frightened by her unfamiliarity of the
place. Then the camera goes on a wider lens to capture the
same moment from a different angle.

The camera switches to another character’s movement. It

captures the shoes of Wilthea who is stepping on the grass.

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 Then it goes back to Gieana who turned her head towards the
direction of Wilthea.
Wilthea: Oh! Hi, guys! Welcome back to my channel! Guess
where I am right now! Well, I’m here- The camera is now manipulated by Wilthea who is supposed
to document her courage to explore the secluded place. It
was shaky at first then it became stable once she controlled
it. She stops on her track as she lock eyes with Gieana who
Gieana: Sino ka? Wari mo ba kung nasaan ako… binibini? seems lost. Wilthea’s eyes widen.

There is a deafening silence.

Wilthea: Wari? Binibini? I thought you were a ghost or Gieana is looking down, avoiding eye contact while asking
something. Phew. Wilthea’s identity. She looks around as she asks about the
place. She looked up to Wilthea as she utters, “binibini.”
Gieana: Ako ba’y hindi mo nauunawaan? Tila ba’y may
kakaiba sa iyong pananalita, binibini. Wilthea turns her phone off. She is fixated on her things that
she does not notice the lingering stare of Gieana. The camera
Wilthea: OMG! Right! You’re still here. May event po ba? Ba’t focuses on the phone and shifts to a wider view, capturing
gan’yan ang damit mo? Wilthea. Then it switches to Gieana as she says something.

Gieana looked down on her dress and turned her gaze to the Wilthea halts her fixation on her phone, a bit stunned upon
clothes of Wilthea with wide eyes. realization of Gieana’s presence. She blinks several times
before chuckling a bit.
Gieana: Hindi ba’t dapat ako ang magtanong niyan? Bakit (Camera turns to Gieana while Wilthea is still saying)

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ganiyan ang iyong kasuotan, binibini? Kay raming balat ang The camera followed Gieana’s head as she looked down on
iyong nailalantad! Hindi iyan ang pananamit ng isang her clothes. There is a quick turn of frame to Wilthea while
huwarang babae. Gieana is still saying.

Wilthea: Parang lola ko lang sa sobrang conservative!

(whispered)
Uhm, how do I say this… trend! Yes. Trend po ito.
The camera turns to Wilthea. She turns her head sideways to
Gieana: Trend…? whisper something to herself that is still audible in the video.
She sighs as she is struggling to find the right word.

Narrator: Tracing our history, the baro’t saya dates back to Gieana’s brows furrow.
the Spanish colonial era of the Philippines. But hardly was it
called fashion, as it was dictated by function rather than
aesthetics. Back in the day, Spaniards introduced a highly
patriarchal society where women were to submit to men.
Exposing certain body parts, such as the nape, ankles, and Edits of vintage clips. Videos of the baro’t saya back in the
feet, was taboo, so women were expected to be strictly day and some clips of the fashion trends today.
conservative. It has been quite contrary to today’s belief that
women uphold their utmost autonomy in their everyday lives,
which includes their liberty to dress up. Now they are vocal
that they don’t dress for others, specifically men, and only for
themselves to feel confident and empowered.

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 The camera followed Gieana as she stands up. She dusts off
Gieana: Kung ano man ang ibig sabihin niyan ay hindi ko na some dirt on her hands and skirt. She has an expectant look
alintana. Ako’y tulungan mo na lamang sa pagpapadala ng as she asks Wilthea.
liham sa aking pamilya. Tiyak na nag-aaala na sila sa aking
paruruunan. Maaari ko bang hiramin sandali ang iyong pluma
at papel?
Wilthea slowly walks toward Gieana while talking to her. The
Wilthea: Liham? Ano po ang gagawin niyo with that? Love camera then capture Gieana’s fidgeting hands.
letter? I don’t understand a thing. Pluma? Ni hindi ko po alam
‘yon.

Gieana: Hindi ba’t iyan ang gamit natin pang komunikasyon?

Kung gayon, hindi ka ba kailanman gumawa ng mensahe? The camera alternatively takes turn to capture both
characters’ countenance.Then Wilthea raised her hand while
Wilthea: Oh! ‘Yon po ba? No, silly! I make a lot of messages holding her phone. The camera focuses on it as she wigles
every day! Hindi kami gumagamit ng letter! Old-school na the technology.
‘yon, eh. Panahon pa ng hapon ‘yon. Everything is
convenient with technology now. Just like this. Ito po,
cellphone. See?

Gieana: C-cellphone?

Narrator: One of the most basic forms of communicating

between two people was in the form of written letters. Letters

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were used primarily for communicating short messages and
notes, whether it be for business, personal use, or for royal
individuals to use. We now have two-way messages in the
form of tweets and DM’s on social media, which are not only
for the purpose of communicating with people, but also for
informing and making people aware of social issues.

Wilthea: Saan ka po talaga nanggaling? Even the way you Camera opens to the two women who are searching their way
speak is a bit bizarre. Kung nawawala ka, puwede mo out. They are talking while walking. Then the camera focuses
namang hiramin ‘tong phone ko. Ano ba ang number ng on their shoes, symbolizing a great difference between their
mommy mo? Or FB account? time and personality.

Gieana: Paumanhin ngunit ngayon lamang ako nakakita The camera is still on their body as Gieana is still delivering
niyan. Sa pagkakaalam ko ay wala pang teknolohiya sa her dialogues. Then, at the last few words, the camera
panahon natin gaya ng sabi mo. switches back to their faces.

Wilthea: Panahon natin? Girl, we’re in 2024! High-tech na The camera focuses on Wilthea’s facial expression.
tayo! And it seems like there would be a new model for
iPhone-
The camera turns to Gieana when she interrupts Wilthea.
Gieana: Taong 2024?! Hindi maaari! Nasisiraan ka na yata ng Wide view is then applied as Gieana outbursts.
bait, binibini. Nasa ika 19 na siglo pa lang tayo!

Wilthea: You’re from the past?! We are… in the 21st century! The camera turns to Wilthea.

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Gieana: Hindi maaari! Then it turns to Gieana. After she shouts, she walks past
Wilthea and the frame with heavy heart.

Albularyo: Hoy…! Ang ingay-ingay niyo! As the camera follows Gieana’s back, Joerinz entered the
scene. Gieana was taken aback by his sudden appearance.

There is a long silence. The camera serves as Gieana’s point

of view as it eyes Joerinz from head to toe, taking a hint about
Gieana: Ikaw! Isa ka po bang albularyo?! his identity.

Joerinz: Oh. Bakit mo naman nasabi?

Gieana: Alam na alam ko po ang inyong postura! Laganap sa

panahon namin ang mga albularyo!

Joerinz: Hindi ka nga nagkakamali. Ako ay naparito upang

maghanap ng mga halamang gamot.

Narrator: Before the advent of modern medicine, faith

healers, often called “albularyos”, played a significant role in
Filipino communities. They relied on a combination of
spiritual, herbal, and ritualistic practices. These healers
performed rituals, prayers, and offerings to deities or spirits to

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address ailments. They believed that illness was often
caused by supernatural forces or imbalances in spiritual
energy. With the introduction of modern medical practices,
there has been a shift towards evidence-based treatments.
Hospitals and clinics are now equipped with advanced
technology and medications developed through scientific
research.
The camera is facing Gieana’s back while Joerinz is facing
Gieana: Kita mo iyon, binibini? Ako ay nasa tamang the camera when Gieana turns to Wilthea with great vigor.
panahon! (Wilthea walks away) Binibini? Saan ka tutungo?! She is all smiles as though she is making a point. Then the
camera focuses on Wilthea as she was slightly shaking her
She follows Wilthea until they are facing a busy road with head in disapproval. The camera turned to face Gieana and
different kinds of vehicles. Joerinz.Gieana’s jovial countenance slowly disappears.
Joerinz gazes at them with a puzzled look but then he just
shrugs. Wilthea walks until she gets out of the frame as
Gieana follows her, leaving Joerinz behind.

Camera captures Wilthea’s back. She is facing the busy road.

Wilthea: Do you see this, miss? I’m certainly not out of my Catching up with her is Gieana who is panting. She places
mind. herself sideways at first while gaining her energy back when
Wilthea speaks first. When Gieana notices where Wilthea’s
Gieana: Tunay ngang ako ay nasa hinaharap. Hindi ganito bores her gaze on, she faces front. The camera captures the
ang aking mundo! busy road with different vehicles making their own way. Then
it goes back to Wilthea and Gieana.

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Wilthea: If you’re wondering, hindi naman nawala ang mga
albularyo. Some people are still relying on them.

Gieana: Tanging kalesa lamang ang alam kong

transportasyon.

Narrator: The Kalesa, also known as karitela, is a traditional horse-

drawn carriage that has become an iconic symbol of the
Philippines. It became the mode of transportation back in Spanish
colonial period. In the contemporary world, kalesas are seen
occasionally in most parts of the Philippines but are maneuvered
along the roads throughout some tourist spots to preserve the
Philippine heritage. The advancement of mode of transportations
provide a level of freedom and flexibility in transportation that
wasn’t possible before. They allow us to travel long distances
quickly and conveniently, compared to walking, cycling, or
relying on public transportation. This freedom opens up new
opportunities for work, education, leisure, and social interaction.

(The honking of cars gradually died down)

Gieana: Ganito ba talaga sa inyong mundo? Iyon ba ay The camera captures a couple.
magkasintahan?

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Wilthea: Ah, oo. Bakit? Bitter ka ba?

Gieana: Bitter? Hindi kita naiintindihan, binibini. Ako’y hindi

sanay sa kanilang kapusukan. Sadyang mapangahas lamang
para sa babae ang maging malapit sa lalaki na walang
tsaperon sa aming panahon.

Wilthea: It’s normal for us. Kung hindi mo naitatanong, may

‘kasintahan’ din ako. Isang linggo pa lang ay kami na.

Gieana: Siguro nga’y napakahusay mag-akyat ng ligaw o

harana ang mga lalaki sa panahong ito para sagutin mo sa
loob ng isang linggo.

Wilthea: Uhm. Hindi rin. The, ‘di na uso sa’min ang harana!
We actually met on Tinder.

Angel: Love! Where have you been? Oh, you have a

company.

Wilthea: Wow! You’re here! ‘Eto ang sinasabi kong

‘kasintahan’ ko. My girlfriend.

Gieana: Nobya? Aba’t paano... nobya mo?

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Narrator: In the past, men or the manliligaw, practiced
Harana, a traditional courtship in which they introduced
themselves and serenaded their admired Gieana or
nililigawan, beneath her window. However, with the arrival of
internet age, courtship and dating customs evolved, and
today, the dating culture became more liberated. As the
cellular phone was invented, men pursue their desired ladies
through it, becoming text mates and call mates. Moreover, as
the technology advanced, various online dating apps flooded
the internet where people can meet their match, not only in
their country but around the world as well.

Wilthea: Uhm, I do want to help you, pero hindi ko alam kung

pa’no. What is it like sa panahon niyo? Maayos ba? Masaya
naman kayo?

Gieana: Masyadong magulo. Labanan ng kasakiman ang

almusal namin. At… ibang-iba sa sitwasyon ngayon. Ang
kababaihan ay tinatanaw na mahina. Na walang maibubuga
sa labas ng pamamahay. Wala kaming karapatan sa
maraming bagay.

Wilthea: Oo nga’t naituro ‘yan sa’min sa school. But you

know what? Hindi na naaapi ang mga kababaihan. In fact,

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women can lead now! If you stroll around the place, you can
see some campaign posters of women. Of course, some of
them are deserving of the spot but some still don’t.

Gieana: Talaga? Mabuti naman kung ganoon.

Wilthea: I actually don’t like it here. It’s still a wonder for me if

I really am befitting to exist. Tingin mo mabubuhay ako sa
panahon mo?

Gieana: Hindi.

Narrator: (insert ko lang di)

Wilthea: Oh? Ba’t ka napahinto? Ano ‘yon?

Gieana: Kay gandang pagmasdan. Ano ang tawag diyan?

Iyan ba ay mga artipisyal na liwanag?

Wilthea: Ah! ‘Yan nga ay kuryente. I guess, swerte kami dahil

may access kami diyan. Pero hindi rin naman libre, but still,
napapadali ang buhay namin.

Gieana: Wala akong masabi…

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Wilthea: Wilthea, you are uttering words.

Narrator:

Wilthea: Do you know that we, from the present time, have
the advantage? Because we get to look back at the past
while you can’t look ahead. It’s just mere premonition if you
do. While we get to learn what really happened with
testaments.

Gieana: Pero may kinabukasan rin kayo.

Wilthea: Right. I forgot for a moment. It’s a cycle, then. Our

presence and remnants will contribute to the history. We are
bound to be part of history.

Gieana: Ang lahat ng nakikita ko rito ay lalo pang uunlad at .

uusad sa panibagong likha.

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Scene ____

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