Unusual cinematic object, which could remotely find in Jean Rouch's games with fiction, between images and sound, a referential possibility, but this only and only to make a more easy approach to the beholder since Tahimik turns off any citation and builds a formal experience as free as thought and that runs as freely as this, from an agile documentarist imagetic and creating a persona that is loosely biographic.
"I am Kidlat Tahimik. I choose my vehicle." While this is a work of semi-autobiographical fiction, I still feel this doesn't seem too out of place in between Marker's San Soleil, and any of Mekas' films. To me it's more like a film essay on postcolonial ethnography, Philippine culture, globalisation, and disillusionment (isn't that what perfumed nightmares are made of?), with a comical and eccentric flair.