On the night of her younger sister Nasha’s wedding, Nadia could not hide her fear for her reflecting on the life she is having with her husband Adil. Nadia a young bride herself, had taken the role of a mother, daughter and a sister to Adil’s family, Mumina, the ailing grandmother, Parinda, the mother who’s focus is on her non-tribesman lover rather than the younger children Izza and Aziz.
Knowing this, Nadia secured her sister’s escape by keeping her dowry safe only to find out that Adil had spent it. Nadia witnessed that beyond their culture of dowry, love also exists through the lives of her friends Kadapi, a gay who is so cherished by his husband Migoy and Shana’a also a young bride-to-be of Baraq who is hopeful of turning their life together into something more than just ordinary.
Tragedy loomed around Nadia when Aziz died and her sister came home from a failed marriage. Nadia soon realized that it is not only Nasha who needs to pay for her freedom but also herself.
However, the film does not only depict the life of Nadia and her plight as a young bride but also exposes the life of the village uprooted from the seas of Zamboanga to the lahar desserts of Pampanga but which is seemed to be untouched by time and modernization preserving them of a tradition that society regards as barbaric and disdainful such as unknown birthdays, marriage driven by menstruation and dowry, undignified burial and indifference to subhuman existence.