噴了香水的惡夢 / Perfumed Nightmare

奇拉．塔西米克 / Kidlat Tahimik

奇拉．塔西米克 (1942年生於菲律賓) 是一位電影導演、編劇和藝術家，被認為是菲律賓新電影浪潮的教父。畢業於賓州大學華頓商學院，獲得工商管理碩士學位，後來移居歐洲，並愛上了電影。在華納·荷索的指導下，他於1977年執導了他的第一部電影《噴了香水的惡夢》。該片在柏林影展上獲得了費比西國際影評人獎，並由法蘭西斯．柯波拉的製片公司美國西洋鏡於美國發行。2018年，奇拉．塔西米克被授予菲律賓國家藝術家的稱號。

Kidlat Tahimik (1942, Philippines) is a film director, screenwriter, and artist considered the godfather of Philippine New Wave cinema. Tahimik graduated from the Wharton School of the University of Pennsylvania with a master’s degree in Business Administration before moving to Europe, where he fell in love with film. With the guidance of Werner Herzog, he directed his first film, Perfumed Nightmare, in 1977. The film won the FIRPESCI Prize at the Berlinale and was released in the United States by Francis Ford Coppola’s American Zoetrope studio. In 2018, he was named a National Artist of the Philippines.

電影描述一位菲律賓吉普尼司機，夢想著移民美國、想成為太空人的冒險故事。作為家鄉巴利安村的華納．馮．布朗粉絲俱樂部主席和虔誠的美國之音聽眾，他渴望著一個理想的西方，儘管電影也表現出對拉古納省流行文化的熱愛。在一位美國人的幫助下，他最終駕駛吉普尼到達巴黎。與西方的真實接觸打破了他的幻想，最終返回菲律賓。

奇拉·塔西米克通過出色且突破的剪輯順序，和富有想像力的視覺隱喻針對「第一」和「第三」世界的生活和傳統，進行了思辨比對，同時反思技術優勢與弱勢地區、文化單向輸出所造成的影響。正如蘇珊·桑塔格所寫：「這部電影讓人想起，挖掘、大膽、魅力——甚至是純真——仍存在於電影中。」

The movie focuses on the adventures of a Filipino jeepney driver who dreams of emigRating:to America and becoming an astronaut there. As president of the Wernher-von-Braun fan club in his native village, Balian, and a devout listener to the Voice of America, he dreams of an ideal West. However, the movie also conveys a loving portrait of popular culture in Laguna province. With the help of an American, he finally makes it to Paris in his jeepney. His real-life encounter with the West destroys his illusions, and he returns to the Philippines.

This plot is a springboard for comparative reflections on life and traditions in the “First” and “Third” Worlds, about technological advantages in lockstep with human backwardness, about cultural influences and one-way streets, all of which Kidlat Tahimik expresses in virtuosic and boundary-transcending editing sequences and imaginative visual metaphors. The movie, as Susan Sonntag wrote, “reminds one that invention, insolence, enchantment – even innocence - are still to be had in cinema.”