Kidlat Tahimik

Kidlat Tahimik’s son, Kabunyan de Guia, embarks on a journey from his hometown of Baguio to the southern urban city of Davao using an orange minivan and explores other places in the Philippines along the way.

This is a Filipino omnibus film about three different journeys.

As the ultimate enfant terrible of Philippine cinema, avant-gardist Kidlat Tahimik refuses to settle on anything, whether it’s the telling of a colonial past, or any version of this film, which he’s been making and revising for nearly four decades. BalikBayan, which means “returnee” in Filipino, is partly about the homecoming of the historical figure Enrique of Malacca, a Malay who Tahimik first played and brought to the screen in 1979. As the slave of the 16th-century Portuguese explorer Ferdinand Magellan he circumnavigated the Earth, before returning home as a free man. Old footage of Enrique, played by the young Tahimik, is mixed with the fictional story of a mysterious old man, played by the present-day Tahimik, and documentary footage of a contemporary artist community in Baguio, in northern Philippines. In this version, Redux VI, Tahimik continues his quest to reconsider the Philippines’ colonial legacy. Shot on 16mm (1979–1980s) and video (1990s–2017).

As the ultimate enfant terrible of Philippine cinema, avant-gardist Kidlat Tahimik refuses to settle on anything, whether it’s the telling of a colonial past, or any version of this film, which he’s been making and revising for nearly four decades. BalikBayan, which means “returnee” in Filipino, is partly about the homecoming of the historical figure Enrique of Malacca, a Malay who Tahimik first played and brought to the screen in 1979. As the slave of the 16th-century Portuguese explorer Ferdinand Magellan he circumnavigated the Earth, before returning home as a free man. Old footage of Enrique, played by the young Tahimik, is mixed with the fictional story of a mysterious old man, played by the present-day Tahimik, and documentary footage of a contemporary artist community in Baguio, in northern Philippines. In this version, Redux VI, Tahimik continues his quest to reconsider the Philippines’ colonial legacy. Shot on 16mm (1979–1980s) and video (1990s–2017).

A machine capable of recording ideas directly from the mind is invented, and an out-of-work comedian suffering from depression uses it to learn if he still has the gift to make people laugh.

Magellan, the famous navigator, met his untimely death in the Philippines before he could circumnavigate the globe. Ironically, it was his slave and translator Enrique who most likely was the first to achieve the historic feat.

Magellan, the famous navigator, met his untimely death in the Philippines before he could circumnavigate the globe. Ironically, it was his slave and translator Enrique who most likely was the first to achieve the historic feat.

Documentary profiling the directors involved in the loose Philippine New Wave filmmaking movement.

Produced over 15 years for the JVC-sponsored Tokyo Video Festival, Tahimik’s Video Diaries offers a lovely set of accents to his longer 16mm films. Tropes and themes that recur throughout the director’s career are set in gemlike relief in these brief yet eloquent videos, which include a loving reminiscence of fatherhood on the occasion of Tahimik’s 50th birthday; a tree-planting ritual to celebrate the impending 500th anniversary of Magellan’s voyage; a short documentary on the dying practice of rice terraces, filtered through a homage to Kurosawa; a tribute to the importance of roofs and the strength of bamboo as a building material; and a healing ritual for an oil spill off the island of Guimaras.

Experimental documentary about roof-making.

Experimental documentary about roof-making.

Documentary about an oil spill near the Philippines

Documentary about an oil spill near the Philippines

Essay film about rice farming and Kurosawa's Seven Samurai.

Essay film about rice farming and Kurosawa's Seven Samurai.

Film about rice farmers.

Film about rice farmers.

Accused of treason, Dr. Jose P. Rizal awaits trial and meets with his colonial government-appointed counsel, Luis Taviel de Andrade. The two build the case and arguments for the defense as significant events in the central figure's life prior to his incarceration unfold. Upon hearing Rizal's life story, Taviel begins to realize that the accused not just is innocent but exhibits in fact all the qualities of an extraordinary man. When the mock trial unreels, Taviel is all set to act as the prime advocate for his client as Rizal himself is about to give an earth-moving speech to defend his honor and address his countrymen. Meanwhile, the Spanish authorities have worked out the vast political machinery to ensure a guilty verdict. A revolution waits in the wings.

Kidlat Tahimik, a director and performer, sought to recreate relations between the body and filmed image seen through "Asian eyes." This groundbreaking project took the form of a documentary which Mr. Tahimik directed and in which he performed himself in order to show his own thinking about the different views of the body held by the "East" and the "West."

Kidlat Tahimik, a director and performer, sought to recreate relations between the body and filmed image seen through "Asian eyes." This groundbreaking project took the form of a documentary which Mr. Tahimik directed and in which he performed himself in order to show his own thinking about the different views of the body held by the "East" and the "West."

Kidlat Tahimik, a director and performer, sought to recreate relations between the body and filmed image seen through "Asian eyes." This groundbreaking project took the form of a documentary which Mr. Tahimik directed and in which he performed himself in order to show his own thinking about the different views of the body held by the "East" and the "West."

Kidlat Tahimik, a director and performer, sought to recreate relations between the body and filmed image seen through "Asian eyes." This groundbreaking project took the form of a documentary which Mr. Tahimik directed and in which he performed himself in order to show his own thinking about the different views of the body held by the "East" and the "West."

An unexploded bomb that the Americans dropped in the Philippines in their war against the Japanese was found in a river. It was transformed into a bell by the Ifugaos and sent back to Japan. This time as a gesture of peace.

A man plants trees around the world.

A man plants trees around the world.

Inspired by a trip to Monument Valley and the Navajo Nation while en route to the Telluride Film Festival, Tahimik and his eldest son Kidlat Gottlieb Kalayaan use the "spaghetti machine" (Tahimik's nickname for his Bolex camera) to make their own "spaghetti western." The decade-long path of the film encompasses the assassination of Bagnino Aquino and the subsequent Yellow Revolution that brought Corazon Aquino to power, the decommissioning of the US air base Camp John Hay, and the younger Kidlat's trajectory through school, all shown through a Third World Projector salvaged from a junk pile on Navajo land.

Inspired by a trip to Monument Valley and the Navajo Nation while en route to the Telluride Film Festival, Tahimik and his eldest son Kidlat Gottlieb Kalayaan use the "spaghetti machine" (Tahimik's nickname for his Bolex camera) to make their own "spaghetti western." The decade-long path of the film encompasses the assassination of Bagnino Aquino and the subsequent Yellow Revolution that brought Corazon Aquino to power, the decommissioning of the US air base Camp John Hay, and the younger Kidlat's trajectory through school, all shown through a Third World Projector salvaged from a junk pile on Navajo land.

Inspired by a trip to Monument Valley and the Navajo Nation while en route to the Telluride Film Festival, Tahimik and his eldest son Kidlat Gottlieb Kalayaan use the "spaghetti machine" (Tahimik's nickname for his Bolex camera) to make their own "spaghetti western." The decade-long path of the film encompasses the assassination of Bagnino Aquino and the subsequent Yellow Revolution that brought Corazon Aquino to power, the decommissioning of the US air base Camp John Hay, and the younger Kidlat's trajectory through school, all shown through a Third World Projector salvaged from a junk pile on Navajo land.

Inspired by a trip to Monument Valley and the Navajo Nation while en route to the Telluride Film Festival, Tahimik and his eldest son Kidlat Gottlieb Kalayaan use the "spaghetti machine" (Tahimik's nickname for his Bolex camera) to make their own "spaghetti western." The decade-long path of the film encompasses the assassination of Bagnino Aquino and the subsequent Yellow Revolution that brought Corazon Aquino to power, the decommissioning of the US air base Camp John Hay, and the younger Kidlat's trajectory through school, all shown through a Third World Projector salvaged from a junk pile on Navajo land.

Short film about the sons of the director.

Short film about the sons of the director.

This film is a record of the first Yamagata International Documentary Film Festival. It reflects the various ways the festival was given shape by nascent global changes embodied by Perestroika, the Tiananmen Square massacre, and many other contemporaneous events.

Documentary about the meaning of bamboo.

Documentary about the meaning of bamboo.

A philippine slave travels around the world. An early version of the story Tahimik used for Balikbayan.

A philippine slave travels around the world. An early version of the story Tahimik used for Balikbayan.

Kadu, a boy from Pakil, Laguna, experiences the dissolution of tradition as it gives way to capitalism in the form of Madame, a foreigner who initially came to their village as a customer during the Festival of Turumba.

Kadu, a boy from Pakil, Laguna, experiences the dissolution of tradition as it gives way to capitalism in the form of Madame, a foreigner who initially came to their village as a customer during the Festival of Turumba.

"I am blushing" - Swedish comedy about a film crew traveling to the Philippines to find environments for a movie.

Documentary about the working poor in Hongkong.

Documentary about the working poor in Hongkong.

O jovem Kidlat dirige um jeepney nas Filipinas, mas sonha em deixar sua aldeia e viajar para a Europa, a encarnação do avanço tecnológico que idolatra. Em vez disso, ele descobre uma modernidade desumana nada melhor do que aquilo que deixou para trás.

O jovem Kidlat dirige um jeepney nas Filipinas, mas sonha em deixar sua aldeia e viajar para a Europa, a encarnação do avanço tecnológico que idolatra. Em vez disso, ele descobre uma modernidade desumana nada melhor do que aquilo que deixou para trás.

O jovem Kidlat dirige um jeepney nas Filipinas, mas sonha em deixar sua aldeia e viajar para a Europa, a encarnação do avanço tecnológico que idolatra. Em vez disso, ele descobre uma modernidade desumana nada melhor do que aquilo que deixou para trás.

O jovem Kidlat dirige um jeepney nas Filipinas, mas sonha em deixar sua aldeia e viajar para a Europa, a encarnação do avanço tecnológico que idolatra. Em vez disso, ele descobre uma modernidade desumana nada melhor do que aquilo que deixou para trás.

O jovem Kidlat dirige um jeepney nas Filipinas, mas sonha em deixar sua aldeia e viajar para a Europa, a encarnação do avanço tecnológico que idolatra. Em vez disso, ele descobre uma modernidade desumana nada melhor do que aquilo que deixou para trás.

O jovem Kidlat dirige um jeepney nas Filipinas, mas sonha em deixar sua aldeia e viajar para a Europa, a encarnação do avanço tecnológico que idolatra. Em vez disso, ele descobre uma modernidade desumana nada melhor do que aquilo que deixou para trás.

Stuck in the German lands of “Yodelburg,” our hero Kidlat dreams of space and muses on humanity’s endless capacity for creativity, whether on the moon or at home in the Philippines. A delightful, self-proclaimed “third-world space spectacle.”

Stuck in the German lands of “Yodelburg,” our hero Kidlat dreams of space and muses on humanity’s endless capacity for creativity, whether on the moon or at home in the Philippines. A delightful, self-proclaimed “third-world space spectacle.”

Stuck in the German lands of “Yodelburg,” our hero Kidlat dreams of space and muses on humanity’s endless capacity for creativity, whether on the moon or at home in the Philippines. A delightful, self-proclaimed “third-world space spectacle.”

Stuck in the German lands of “Yodelburg,” our hero Kidlat dreams of space and muses on humanity’s endless capacity for creativity, whether on the moon or at home in the Philippines. A delightful, self-proclaimed “third-world space spectacle.”

Stuck in the German lands of “Yodelburg,” our hero Kidlat dreams of space and muses on humanity’s endless capacity for creativity, whether on the moon or at home in the Philippines. A delightful, self-proclaimed “third-world space spectacle.”

Stuck in the German lands of “Yodelburg,” our hero Kidlat dreams of space and muses on humanity’s endless capacity for creativity, whether on the moon or at home in the Philippines. A delightful, self-proclaimed “third-world space spectacle.”

Na manhã de 26 de maio de 1828, na cidade de Nuremberg, um rapaz foi abandonado com uma pequena carta endereçada ao capitão da cidade. Os habitantes acharam que o rapaz fosse doente ou tivesse alguma deficiência, pois não conseguia andar e sequer se comunicar. A carta dizia seu nome, Kaspar Hauser, e explicava que toda a vida ele havia passado preso em uma torre, nunca aprendendo nada ou vivendo em sociedade. Após ser adotado por uma família e aprender a falar, o rapaz contou que até o dia em que foi abandonado jamais havia visto antes o rosto de uma pessoa. Kaspar tornou-se um fenômeno entre a realeza alemã, principalmente pela aptidão assustadora que tinha para a música, mas era incapaz de diferenciar sonhos e realidade e não conseguia compreender as convenções sociais, como a política e a religião. O filme é baseado em fatos reais. (e 12 - Estimado 12 Anos)