Sino'ng Lumikha ng Yoyo? Sino'ng Lumikha ng Moon Buggy? (1979)

Sino'ng Lumikha ng Yoyo? Sino'ng Lumikha ng Moon Buggy? (Kidlat Tahimik, 1979)

English Title: Who Invented the Yoyo? Who Invented the Moon Buggy?

It’ is very tempting to acknowledge Mababangong Bangungot (Perfumed Nightmare, 1977) as an autobiographical account of an ambitious Filipino with a compellingly descriptive name who wakes up from his dreamy infatuation with the West.

A student leader in the University of the Philippines, a Wharton graduate and the son of his home town’s first mayor after the Philippines’ liberation from America, Eric de Guia, the real Kidlat Tahimik, although similar in curiosity and probably in destiny with the character he created, is hardly the poor and uneducated jeepney driver of his first film. Sino’ng Lumikha ng Yoyo? Sino’ng Lumikha ng Moon Buggy? (Who Invented the Yoyo? Who Invented the Moon Buggy?) although set in fictional Yodel Ville, with Kidlat Tahimik, no longer the same jeepney driver of Mababangong Bangungot but a character that is closer to the real man, spending time with children in his mission to launch a chicken to space via a makeshift vessel.

Detouring from those humorous flights of fantasy, Kidlat Tahimik opens up, detailing his personal history and circumstance, blurring further the lines between him and the characters he has created for himself. In that sense, Sino’ng Lumikha ng Yoyo? Sino’ng Lumikha ng Moon Buggy?, more than Mababangong Bangungot or Turumba (1981), his more popular works, represents the closest precursor to the distinct autobiographical wonderments that would define his latter video works. It seems that the film, because of its lengthy title, is a promotion of the inventive qualities of Filipinos which benefitted the entire world.

Without taking away from the unique delights of seeing a grown man treating toddlers as equals in discussions that should not make sense but actually do, the film, while utilizing the often inane resourcefulness of Kidlat Tahimik’s character as a wellspring for comedy, proposes that it is that trait, arguably endemic to Filipinos, that is the secret ingredient to genius.

(This article was commissioned for the programme of the 12th Jeonju International Film Festival)

Family Nest (1979)

Family Nest (Béla Tarr, 1979)
Hungarian Title: Családi tüzfészek

Béla Tarr was only twenty two years old when he made Family Nest, a very mature look at the housing problem that pervades late seventies Budapest. Despite his young age, he was able to make a truthful and at times, heartbreaking commentary on how a supposed political problem has invaded the nucleus of Hungarian society, the family. His style is typical to Eastern European Cinema: a cinema verite style wherein he uses primarily non-actors and the visual appeal is almost non-existent, suggesting a documentary feel to the entire exercise. Tarr would later on develop a style that is completely his own, and would become a pillar in world cinema, his unique style becoming a source of inspiration for filmmakers like Gus Van Sant, Lav Diaz, and perhaps Apichatpong Weerasethakul.

The center of the aftershock of the Hungarian housing project is Laci, a newly released soldier and his wife Iren, who has lived in her father-in-law's pad for the entire time Laci was away. Iren and Laci's father don't exactly have the most perfect of relationships. The father insists that Iren raise her daughter the way he wants him to, and dislikes the fact that Iren would bring home some of her friends from work. Later in the film, the father would poison Laci's mind by saying that Iren is cheating since she's been out for periods of time at night, and that she's not exactly contributing enough money to the household.

It's an almost impossible dream for the couple to get a flat of their own. After all, a flat of their own will keep them away from the father's nonstop nagging, or Laci's brother's irresponsibility. However, getting a flat would require them to fall in line, and face the heartlessness of the government's bureaucracy. Tarr would spend some time showing how this works. Outside, his camera would catch other women telling their plights on the housing problem. A woman was forced to squat in a vacant flat, to miserable results. Inside the interview room, Iren would plead and beg the office worker to grant her the flat she wants or else, her marriage would suffer. But the office worker is merely a low ranking bureaucrat and he is in no position to hear the plight, and suffers through Iren's reasoning and tears. It's a double-edged sword Tarr is playing here, we see the plight of the house-needy residents, and also the virtually useless office workers forced to hear out the complaints and the destroyed lives of those in the mercy of an impersonal society.

It's an amazing debut feature from a very young director. Tarr dissects his society with an experience that would've suited a far more older analyst. The claustrophobic feel of the father's crowded flat, the banter upon banter heard evertime there's a family dinner, the alcohol consumed to temporarily relieve the tension at home, Tarr sees it as truthfully as any filmmaker could and his camera shoots it with any cinematic falsity distilled from the scenario. It's really an amazing feat which Tarr would eventually top in his later features.