Ciné Asie | MEMORIES OF OVERDEVELOPMENT
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MEMORIES OF OVERDEVELOPMENT

MEMORIES OF OVERDEVELOPMENT

  |   LONG MÉTRAGES / FEATURES, PHILIPPINE NEW WAVE

The title of this film refers to a Cuban film Memories of Overdevelopment. Filming started in the early 1980s and it took the director over thirty years to complete the film. Director Kidlat plays the role of Magellan’s slave Enrique, who was with Magellan when the Philippines was first discovered. Creating a fictional figure and playing its role are characteristic of Kidlat’s early projects, but the director—who is almost seventy years old now—went through many changes in his life and work. As if reflecting such changes, the completed film is chaotic. The work started with the director proving himself and became a work of ruminating on his life today.

Director: Kidlat Tahimik

Year: 1980-2014

Genre: Installation

Length: Feature

Runtime: 150 mins

Colour

Country: Philippines

Language: English

Producer: Kidlat Tahimik

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 urricula, 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 undiploma-ed 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”.

Canadian premiere

 



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