Joy, an elderly woman, confides in Cebuano about her youth to Sarah, her daughter sitting next to her and holding her hand. Vivian, also a Filipina, translates Joy's words, her friend, for her daughter Christina, who does not speak Cebuano. The tenderness of the looks and gestures emerges, within the shot and between shots, and the learning by women of the cinematographic device, which they do not know and which they appropriate by confiding in each other. Two mother-daughter pairs, two exchanges between languages ​​and generations. From one to the other, the portrait of a missing woman and her story emerges, of language as a permitted or prevented filiation, of the collected word and the conditions required to welcome it properly and make it circulate.