Ciné Asie | TURUMBA
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TURUMBA

TURUMBA

  |   LONG MÉTRAGES / FEATURES, PHILIPPINE NEW WAVE

A Philippine village goes international in Tahimik’s satirical takedown of the global economy, as essential now as it was when it was released in 1983. Young Kadu and his family earn money carving and selling handcrafted wooden trinkets, but when a “buying agent for German department stores” arrives, it’s farewell painstaking craftsmanship and hello assembly lines, international shipping, and phrases like “rationalize production!” Too busy shouting, “OK! Break’s over!” to his underage charges and enjoying the fruits of the global commemorative-trinket industry, Kadu’s father soon even loses interest in the upcoming Turumba festival, a religious ceremony dating back generations.

Traditional culture, overturned for some Munich Olympic mascot knockoffs: Turumba is a witty, almost Swiftian parable of the effects of globalization. While easily the most “narrative” of all Tahimik’s features, the film still frequently—and joyfully—wanders offscript to luxuriate in the customs, beauty, and small wonders of the region it was filmed in, and as such can be enjoyed as much as a documentary as a fictional satire.

Director: Kidlat Tahimik

Year: 1981

Genre: Fiction

Length: Feature

Runtime: 95 mins

Colour

Country: Philippines

Language: Filipino/Tagalog/English/German (English sub)

Production and Sales company: Kidlat Kulog Productions

Cast & Crew:

Cast: Homer Abiad, Iñigo Vito, Maria Pehipol, Patricio Abari, Bernarda Pacheco, Katrin Luise,    Claudia Aderes

Producer: Kidlat Tahimik

Screenplay: Kidlat Tahimik

Director of Photography: Boy Yniguez

Art Director: Santiago Bose

Music: Mandy Afuang

Editor: Karl Fugunt

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 ducation, (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).

After five years as an economist in Paris, he tore up his MBA diploma in 1972, tuned-in to commune-culture lifestyle, and embraced an anti-Hollywood chool of filmmaking (a.k.a Banal-Kahoy production). As a self-taught cineaste, his works are recognized at home and abroad for their primitive style and for their humorous deconstruction of his “benevolent assassination”.

Canadian premiere



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