Masterclass with Kidlat Tahimik
Né en 1942 sous le nom Eric Oteyza de Guia dans la ville de Baguio, il a grandi dans cette enclave Américaine, une cité de vilégiature située au coeur des hautes-terres tribales de la culture Igorote. Il y a trois décades, il a commencé à questionner son education américaine (aka “mon assimilation bienveillante”). Cela commença à l’école primaire avec les soeurs de Maryknoll, et se poursuivit avec l’immersion plus avancée à l’école secondaire (Saint Louis HS) et au collège (UP Diliman), tous deux des institutions basées sur le curriculum des États-Unis, et se terminant en Amérique avec un diplôme du Wharton School (MBA). À Baguio il est un artiste-activiste (film, installation-vidéo, performance) supportant la démarche/point de vue des artistes autodidactes.
En 1997, son Sunflower Film Collective s’impliqua dans un projet visant à partager des technologies vidéos conviviales avec le peuple tribal dans le but de redonner la responsabilité de la documentation culturelle dans leurs propres mains. Il a été conférencier à l’U.P. et à l’Université Ateneo, dans des conférences locales et internationales, et a écrit des articles en Taglish pour le Sunday Inquirer. Depuis 1983, il performe portant le Bahag traditionnel (G-string) comme addendum à ses “films techniquement non-polis”. Tahimik a discuté de ses films et de la naissance du mouvement Nouvelle-Vague aux Philippines. AmérAsia est présenté ses films Memories of Overdevelopment (2014), Turumba (2981), et Perfumed Nightmares (1977) en présence du cinéaste pour une session de questions-réponses. De plus, le réalisateur Tahimik était juré lors du défi Plan séquence.
Le lien de visionnement du film Perfumed Nightmares est disponible en ligne via http://www.youtube.com/watch?
Pour toute autre information, veuillez contacter communications@
Masterclass with Kidlat Tahimik
AmérAsia Montreal Asian Film Festival was proud to collaborate with the Embassy of the Philippines to welcome the director Kidlat Tahimik for the very first time in Quebec, known as the father of the Philippine New Wave, to our festival. Kidlat Tahimik is currently on a world tour for his retrospectives. Last week, Tahimik was a jury member at the Prague International Film Festival. Following his visit to Montreal for the AmérAsia film festival during which he led a masterclass discussing about his ongoing project process Memories of Overdevelopment, initiated in 1980 and still going on today. His first films Perfumed Nightmares and Turumba were also screened during the festival’s week from October 30 to November 2nd at Phi Centre. The Filipino director received the International Critics Award at the Berlin Film Festival (Perfumed Nightmares, 1977), the Top Cash Award at the Mannheim Film Festival (Turumba, 1981), and the Laureate, Arts and Culture Prize (2012) at the Fukuoka Asian Culture Prize. Germany, workshop in Vietnam, and to be a juror in Copenhagen. His first feature, Perfumed Nightmares, was supported by Werner Herzog, Francis Ford Coppola, and Susan Sontag, which caught Europe and North America’s attention. Tahimik was one of the judges for the One Piece Film: 72 hour challenge. He is now engaged in a world tour, including being a jury member for the Copenhagen Film Festival, showing a retrospective of his work in Berlin, and hosting a workshop in Vietnam. His first feature, Perfumed Nightmares, was supported by Werner Herzog, Francis Ford Coppola, and Susan Sontag, and was acclaimed in Europe and North America. Perfumed Nightmares was the closing film for AmérAsia Montreal Asian Film Festival and screened on November 2 at the Phi Centre. Tahimik was in attendance and hosting a question answer period following the screening.
The name Kidlat Tahimik immediately connotes contradiction. As an obsessive cultural observer, Tahimik has been exploring his inner cultural contradictions by making his non-commercial films since 1975. This process of “introspection on celluloid strips” is his way of digging out the sariling dwende buried in the “education” process.
Born in 1942 as Eric Oteyza de Guia in Baguio City, he was raised in that American enclave resort town, situated in the heart of the tribal highlands of Igorot Culture. Three decades ago, he began questioning his American education, (a.k.a “my benevolent assimilation”). This had begun with his Maryknoll nuns in primary school; followed by further immersion in high school (Saint Louis HS) and college (UP Diliman) both institutions based on US curricula, ending up in America for a graduate degree (Wharton School MBA). In Baguio, he is an active artist (film, video-installation, performance), supporting the process/viewpoint of the autodidact artists.
In 1997, his Sunflower Film Collective embarked on a project to share user-friendly video technology with tribal people, with the aim that responsibility for cultural documentation rests in their own hands. He lectures at U.P. and Ateneo University, speaks at local/international conferences, contributes articles in Taglish to the Sunday Inquirer. Since 1983, he performs in his native bahag (G-String) as an addendum to his “technically unpolished films”. The director, Tahimik, introduced his films and the birth of the New Wave movement in the Philippines while the AmérAsia screened his films Memories of Overdevelopment (2014: only the working progress version), Turumba (2981), and Perfumed Nightmares (1977) and followed the director’s Q&A sessions. In addition, the director Tahimik was a juror for the One Piece Film challenge.
A preview link for Perfumed Nightmares is available on YouTube http://www.youtube.com/watch?
For more information, please contact communications@