The lull summoned in VOID is not emptiness but an interval premised on the possible, fulfilled through a nonbinary godhead imagining a newfangled world and ushering it into being by creating themself through gesture, expressivity, and movement. VOID's tropical futurist vision of the brown body in primordial space breaches imperial patriarchy's notions of not only power and beauty but also of existence and experience itself. Drawn from myths recounting the creation of the Philippine archipelago through queer + trans performance, VOID envisions a future that conjures embodiments of a nonbinary species of the gender-diverse realm. This vision is prefigured by a nonbinary god who dances their way into an ever-changing space.

Set in the present, the film tells the story of Mutya, a shy young transgender woman who works as a gardener at a resort south of Manila. She takes care of the blind mother of her OFW (Overseas Filipino Worker) seafarer boyfriend, Kerel. The film is anchored in their phone conversation, which may or may not be real, and becomes a catalyst for the manifestation of their individual anxieties and desires reflected in a dream like visual journey.

Part-stylised performance film, part-interview feature, this film dives into the “tropical futurist” creation story premised on Filipino pre-colonial identities, myths and artefacts and speculative decolonial fantasies. At the heart of this story lies a “swamp” - a primordial black hole, a portal to nothing and everything - which gives birth to a nonbinary deity. VOID is a divine response to the pain and trauma of the present apocalyptic era, a futuristic body that is also a composite of historical-ancestral imaginaries.