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  1. Kidlat Tahimik is a Filipino film director, writer and actor known for his critiques of neocolonialism. He is a National Artist of the Philippines and a noted installation artist with works exhibited in various public spaces.

  2. Mar 15, 2023 · The National Artist and Father of Philippine Indie Cinema showcases his multidisciplinary oeuvre that battles for the soul of the Filipino legacy through the cosmic sensibility of the katutubo. The exhibition features assemblages, installations, and organic objects that confront the colonial sins of the Palacio de Crystal in Madrid and the National Museum of Anthropology in Manila.

  3. Nov 15, 2023 · Talking Duendes, Perfumed Nightmares, and the Indio-Genius With Kidlat Tahimik. By Bryle B. Suralta. Nov 15, 2023. 112. Shares. Every year, Esquire Philippines’ Man at His Best honors extraordinary Filipinos who are reshaping society. These are the men and women who are raising the bar for Filipino creatives, athletes, public servants, and ...

  4. Jan 31, 2022 · Learn about Kidlat Tahimik, the 'father of independent cinema' in the Philippines, who made films with resourcefulness, humor and Third World perspective. Explore his biography, works, themes and influences, such as Werner von Braun and Voice of America.

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  5. Kidlat Tahimik. Director: Perfumed Nightmare. Kidlat Tahimik was born on 3 October 1942 in Baguio City, Benguet, Philippines. He is a director and actor, known for Perfumed Nightmare (1977), Balikbayan #1: Memories of Overdevelopment Redux III (2015) and Turumba (1981).

    • October 3, 1942
  6. www.artforum.com › features › murtaza-vali-on-theLIGHTNING STRIKES - Artforum

    A profile of the Filipino filmmaker and artist Kidlat Tahimik, who challenges colonialism and globalization with his mythic and satirical works. Learn about his life, films, and installation at Sharjah Biennial 14.

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  8. Apr 16, 2019 · One of the pioneers of independent cinema in the Philippines, Kidlat Tahimik has been tinkering away on his latest film since 1979. Like much of his output, the pugnaciously titled BalikBayan #1: Memories of Overdevelopment, Redux IV (2017), resembles as much a collage of moods, periods, film stocks and video formats as it does any kind of coherent movie.