Quote:
This quasi-sequel to The Perfumed Nightmare is not so widely known as Tahimik’s debut and yet is animated by a similar playfulness and resourcefulness and equally as inventive. Though shot immediately after “Nightmare”, “Yoyo” was only completed after Turumba, and, as such is usually considered as Tahimik’s third feature.

Once again, it comes down to technology and mode of transport, but this time round it wasn’t a case of traveling to Europe by jeepney, but rather with a home-made rocket into the cosmos: the hero – again played by Kidlat Tahimik himself – teams up with a bunch of kids on a Bavarian farm to work on a spaceship, in order to see if one can play yo-yo on the moon. Yet, the yo-yo, as is still noted today in the dictionary, was invented in the Philippines, and so the farm near Ingolstadt becomes the birthplace of the first Philippine space project, in-short P.O.M.P.

Bavaria proves to be a well-disposed location for this hair-brained scheme: its abandoned barns provide components for space-crafts; its furrowed fields resemble lunar landscapes; the locals say “yo yo” when they want to signal approval, and a crucial discovery reveals that the ubiquitous onion domes of the churches testify to earlier generations who previously landed on the moon, whose secret knowledge is finally revealed to the hero.

Perhaps, this feature is even more intricate than Perfumed Nightmare, which broke with all cinematic conventions. Pat Aufderheide’s written commentary on Turumba equally applies to this movie escapade. Tahimik “makes canny use of the accidental and the available, turning junk-littered reality into art the same way that the Filipinos turn the detritus of industrialism into handicrafts. [The movie’s] style is ingenuous [but] the film’s vision of the conflicts inherent in progress on Western and capitalist terms is anything but innocent.”

Sinong.Lumikha.ng.Yoyo.Sinong.Lumikha.ng.Moon.Buggy.1982.1080p.WEB-DL.x264.AAC.mkv

General
Container:  	Matroska
Runtime: 	1 h 31 min
Size: 	3.29 GiB
Video
Codec: 	x264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	4 867 kb/s
BPP: 	0.098
Audio
#1:  	English 2.0ch AAC LC @ 253 kb/s

https://nitro.download/view/A1B45EAA882DD1D/Sinong.Lumikha.ng.Yoyo.Sinong.Lumikha.ng.Moon.Buggy.1982.1080p.WEB-DL.x264.AAC.mkv
https://nitro.download/view/C72318303E7306B/Sinong.Lumikha.ng.Yoyo.Sinong.Lumikha.ng.Moon.Buggy-Final.srt

Language(s):English, German
Subtitles:English, Japanese Hardsubs

The post Kidlat Tahimik – Sinong lumikha ng yoyo? Sinong lumikha ng moon buggy? AKA Who invented the Yo-yo? Who invented the Moon Buggy? (1982) first appeared on Cinema of the World.

Upon his departure from his home in Baguio, the road trip of the director’s youngest son, Kabunyan, begins. He stops at certain places along the way, engaging in conversation with various companions – often artists – in between drives.

1.49GB | 1h 08m | 1280×720 | mkv

https://nitro.download/view/2B28FBE7D7A9298/Kabunyans.Journey.To.Liwanag.2020.720p.WEB.AAC.x264-KiLLPUTiN.mkv

Language:Filipino
Subtitles:English

The post Kidlat Tahimik – Ang Lakaran ni Kabunyan AKA Kabunyan’s Journey to Liwanag (2020) first appeared on Cinema of the World.

J. Hoberman, The Village Voice:

Set in a tiny Philippine village, the inimitable Kidlat Tahimik’s film focuses on a family that makes papier-mache animals to sell during the traditional Turumba festivities. One year, a German department store buyer purchases all their stock. When she returns with an order for 500 more (this time with the word “Oktoberfest” painted on them), the family’s seasonal occupation becomes year-round alienated labor. Increased production, however creates inflated needs. Soon, virtually the whole village has gone to work on a jungle assembly line, turning out papier-mache mascots for the Munich Olympics. Long before the town band learns to play “Deutschland Uber Alles”, the fabric of village life has been torn asunder. The ironies of capitalism on the margin – Coca-Cola ads amid the shanties and ancient rituals – make easy targets for Tahimik’s wit. But his sharp eye never makes him seem bitter. Here, as in Perfumed Nightmare, Tahimik demonstrates great affection for his subjects, without stooping to romanticism (1983 presumably; taken from the DVD).

1.31GB | 1h 28mn | 704×528 | mkv

https://nitro.download/view/2C4638F62A38777/Turumba.1981.DVDRip.x264-HANDJOB.mkv

Language(s):Filipino, Tagalog, English, German
Subtitles:English hardsubs

The post Kidlat Tahimik – Turumba (1981) first appeared on Cinema of the World.

Quote:
Lakbayan (Journey) is an omnibus film that consists of Brillante Mendoza’s Desfocado (Defocused), Lav Diaz’s Hugaw (Dirt) and National Artis for Film Kidlat Tahimik’s Lakaran Ni Kabunyan (Kabunyan’s Journey).

It tells three tales of the Filipino journey. An unemployed cameraman joins a protest march of farmers asking the government to help them reclaim their ancestral land stolen by the powerful in Desfocado. In Hugaw, it is also the powerful that controls an island where a young miner contests the problems and the status quo. A mosaic artist is empowered as he arrives at his destination while traveling from island to island in Lakaran Ni Kabunyan.

Hugaw

Desfocado


Lakaran ni Kabunyan

2.08GB | 1h 58mn | 1280×720 | mkv

https://nitroflare.com/view/8045E8202543202/Lakbayan.2018.WEB.720p.x264.AAC.DLB-KG.mkv

Language:Tagalog, English
Subtitles:English (Hard-coded)

The post Lav Diaz & Brillante Mendoza & Kidlat Tahimik – Lakbayan (2018) first appeared on Cinema of the World.

`An entry in the Encyclopedia of Philippine Art published by the Cultural Center of the Philippines, offers a clue as to the genesis of this monumental movie. Two movies are mentioned: the first, I am Furious (Yellow), “a collage of events leading up to the 1986 EDSA [People’s Power Revolution] uprising ”, and its sequel I am Curious (Pink). Both titles are references to the movies I Am Curious (Yellow) and I Am Curious (Blue) by Swedish director Vilgot Sjömans which provoked controversy due to their sex scenes in the late 1960s. In Tahimik’s piece, “yellow” refers to the color that was to become the standard color for protests against the Marcos regime. Both these movies were later integrated as episodes in Why is Yellow at the Middle of the Rainbow? which, in turn, was to give rise to a new genre called ‘Never-ending docu’ at international festivals.

Completed in 1994, this never-ending documentary film (actually more a cinematic essay) sets the tone and direction for the shorter works that Kidlat Tahimik subsequently shot. Instead of the plot-based works from the late 70s and early 80s, what now emerges are episodic and no longer narrative-driven movies, in which Tahimik assembled associative essays drawing upon everyday events, family scenes, random observations and travel documentaries.
Themes covered in earlier works re-surface in the almost three-hour Why is Yellow at the Middle of the Rainbow?: the Philippines’ culture and history, the powerful US influence on the country, technology and cinema, cultural globalization and local traditions. Here, the personal is political, and both are equally significant: the assassination of the Philippine opposition leader Benito Aquino which triggered protests against the regime of the dictator Marcos, and the story of Tahimik’s hometown Baguio, once a hill station for American soldiers and diplomats stationed in the Philippines, as well as his sons growing up, Tahimik’s attendance at an American film festival and the natural disasters that so regularly afflict the Philippine archipelago. Notwithstanding the disparity in terms of content and movie-making techniques, Tahimik nonetheless succeeds to thread together a stream of images that at once uplift and captivate audiences.
When you work with the cosmos, suddenly you get ideas for how to treat some visuals, like some images that had no intention of being in the film. That’s the freedom of the independent. Normally when you’re making a movie, it’s almost pre-set, what elements will go in, so it will have “a unified structure”. But for me, I shoot so many things impulsively, that once I start editing a movie, suddenly there is an imperative for this obscure shot to come in here … or there. You keep juggling until you find on organic flow. You don’t have a script, you just do it by feel. You’re surprised that audiences like it. – Kidlat Tahimik

Third World Projector presents a Celluloid Collage by Kidlat Tahimik and Kidlat Gottlieb Kalayaan
Kamera: Kidlat Tahimik
Additional Camera: Roberto Yniguez
Montage: Kidlat Tahimik
Editors: Maureen Gosling (First Assembly 1981 – 1986), Charly Fugunt (Sync Sound Assembly 1987/88), Final Edit: Kidlat Tahimik (1981 – 1988)
Production Assistant: August Santiago
Soundman: Ed de Guia, Animation and Titles: Will Magtibay
Dialogues: Kidlat Tahimik, Kidlat Gottlieb Kalayaan, Kawayan Thor Kalayaan, Kabunian Cedric Enrique
Laboratory: Cine Effects (New York), PIA Film Lab (Manila)
Original Music: Tumandok, Gerry Baguio, Jessie Soluta, Boy Garrovillo, Tito Martinez, Ballatong Gaspalinao, Shant Verdun, Diokno Pasilan
EFX and Liaison: Ping de Ocampo, Romy Bagbagen
Special sources of energy: Katrin Luis, Kidlat Gottlieb Kalayaan, Kawayan Thor Kalayaan, Kabunian Cedric Enrique
Special Thanks to: Baguio Arts Guild, Robert Villanueva, Rene Aquitania, Sanitago Boss, Will Magtibay, Dave Baradas – Sunflower Film and Yoyo Cooperative.

http://nitroflare.com/view/3484E5EE1D5C19D/Why_is_Yellow_the_Middle_of_the_Rainbow.mkv

Language(s):English, Filipino
Subtitles:English (Hard subs for non english parts)

The post Kidlat Tahimik – Bakit dilaw ang gitna ng bahag-hari? AKA Why Is Yellow the Middle of the Rainbow? (1994) first appeared on Cinema of the World.

Quote:
Upon first glance, Perfumed Nightmare looks amateurish and raw. It is, too, I suppose, but this works to the film’s advantage. This is the semiautobiographical story of a young Filipino man (played by writer/director Kidlat Tahimik) who worships everything about America. He is especially caught up in the space program: he wants to visit Cape Canaveral, and he is the president and founder of his small (300 people) village’s Werner Von Braun fan club. This might just be the only fan club in the world that worships the Bavarian expatriate who is regarded as the father of rocketry. He and his club members have ice cream sales to fund their activities, which include sponsoring the Miss Philippenes pageant.

Kidlat thinks his village is backwards; an opening monologue expresses his wry sadness over the size of his village, and he gently mocks his childhood friend, who is among the last experts in the village on the building of bamboo huts that can withstand the yearly typhoon season. Kidlat wants more–he wants buildings of brick and stone, he wants internationalism, he wants vehicles other than the hand-me-down “Jeepneys” which started life long ago as American military vehicles during the Occupation after the end of the Second World War. There are hints that he isn’t completely convinced, though: we learn that his father, who helped the Americans fight off the Japanese, was killed for trespassing on what he thought was his country’s land by American guards.

Kidlat gets his big chance when an American entrepreneur (he has a string of candy machines in the most unlikely places) invites him to Paris to serve as his driver. Paris overwhelms Kidlat, who gets a first taste of the dark side of growth for growth’s sake when one of his few friends, an elderly pushcart vendor, dies after being put out of business by a supermall. Kidlat starts to question why the world needs supermalls in the first place, when the pushcarts he grew up with serve their purpose. In a striking act of rebellion against internationalism, he throws stones through the windows of the supermall, an event that was as strong a statment of rage as Spike Lee’s throwing a garbage can through Danny Aiello’s pizzeria in “Do the Right Thing.”

My comments: An absolute classic of low-budget auteur cinema, Perfumed Nightmare is less the story of a Jeepney driver with dreams of bigger things than a compendium of things Filipino and an allegory of modernity and Filipino history. It is also one of the most charming films you’ll ever see. Director Kidlat Tahimik brings a laid-back village attitude to the task of representing life in the Philippines and that country’s place in the larger world. A fictionalized version of himself travels to Paris to work for an unscrupulous gum magnate; his observations reveal some important truths about the power of small people and their ability to endure.

Distributor website:
Produced and directed by Kidlat Tahimik, this brilliant semi-autobiographical fable tells the story of a young Filipino born in 1942 (during the Occupation), his awakening to, and reaction against, American cultural colonialism. In his small village, Kidlat dreams of Cape Canaveral and listens to the Voice of America; he’s even the president of his village’s Werner Von Braun fan club. Winner of the Berlin Film Festival International Critics Award and a Blue Ribbon at the American Film Festival.

1.29GB | 1h 34m | 720×540 | mkv

https://nitro.download/view/35966BA094E2397/Perfumed.Nightmare.1977.mkv
or
https://tezfiles.com/file/949544a11e09e/Perfumed.Nightmare.1977.mp4

Language(s):English
Subtitles:English

The post Kidlat Tahimik – Mababangong bangungot aka Perfumed Nightmare (1977) first appeared on Cinema of the World.