Daphnee FERRER
International Premiere
Three Filipina women find themselves trapped inside a recurring nightmare.They live with PMOS (Polyendocrine Metabolic Ovarian Syndrome, formerly known as Polycystic Ovary Syndrome or PCOS), a common hormonal condition that affects one in ten women worldwide, yet continues to be overlooked despite having no definitive cure. Inside their own hell of endless domestic labor, their days are consumed by cleaning, washing, cooking, and caring for others. As the routines repeat, the boundaries between domestic life and terror begin to collapse.
Through different methods of intimate acts of body documentation: optical, thermal, and three-dimensional scanning, a tender awakening traces how chronic illness and domestic labor become entangled within the lives of Filipina women. Fragmented images show how women¡¯s visceral transformations can become a site of resistance. As the cycle intensifies, the women begin to recognize themselves in one another. What first appears to be an individual struggle reveals a shared experience carried collectively across bodies, households, and generations.
I never expected to live with a chronic illness at such a young age. I was only 20 when I found out that I was sentenced to life in a body that will forever feel like a prison. The day I found out that I was diagnosed with Polyendocrine Metabolic Ovarian Syndrome (PMOS, formerly known as Polycystic Ovary Syndrome or PCOS), was the day I was told that my illness has no cure.
PMOS confines women to quality of life that destroys their physical, mental, and social well-being. I felt trapped. When I learned that PMOS ruins women¡¯s lives, its abbreviation changed for me, PMOS is now short for: Pissing Me Off Syndrome. It felt like the end for me and my body.
One of the ways PMOS manifests in the body is through weight gain. Living through these changes, I was confronted once again with the same anxieties that had shaped my relationship with my body since I was twelve years old. I thought adulthood would free me from these insecurities, but instead I found myself returning to them as if I were a child again. My body began to feel unfamiliar to me. I no longer recognized myself and I felt like a shell of the person I once was.
After years of medical consultations and extensive research, I searched for art that could reflect the realities of living with PMOS. I found very little and I was dismayed. While some representations of body image existed, they rarely captured what it means to inhabit a woman¡¯s body that changes, struggles, and persists under the weight of PMOS. For the first time in my life, cinema failed me. In that absence, I began to think about the countless women whose experiences remained unseen and underrepresented—not only in art and films, but also within medical and patriarchal systems that have long neglected women's health, women¡¯s bodies, and women¡¯s liberation. A Tender Awakening emerged from that absence, from a desire to create a film that I longed to encounter where women living with PMOS could see themselves reflected with tenderness, complexity, and care. I and this film will always live by: there may not be a cure for PMOS, but there must be art.
Daphnee Ferrer is an interdisciplinary visual artist and filmmaker based in Manila. Her practice explores the visceral, the vulnerable, and the monstrous, merging installation, experimental cinema, photography, and narrative. Centering on women¡¯s experiences, she draws from personal and cultural memory to examine bodily transformation and identity. She currently focuses on art about polyendocrine metabolic ovarian syndrome (PMOS, formerly known as PCOS), a chronic disease affecting women worldwide, and one she was diagnosed with.