In the film Perfumed Nightmare, the director Kidlat Tahimik shows the impact of post colonization in a third world on one man’s quest for his identity. Postcolonial countries struggle with fragmentation of the country’s history and identity crisis of the populations, Kidlat shows in this film the impact of colonialism on the indigenous people and how Western culture influences them in their postcolonial period. The film shows the main character Kidlat, who has hopes of leaving his village to go to America and become an astronaut so he could become rich. Kidlat becomes over indulged by the American dream through the Voice of America, but throughout the film he struggles between his nation’s pride while still admiring the America dream of progress and change.
At the beginning of the film, there is an establishment that the bridge at the edge of the town is a metaphorical site of contest between native and imperialist culture, as everyone one has to travel across it. Kidlat narrates how the bridge serves as the crucial link between his small Philippine village and the rest of the world, as it serves as the only way in and out of his hometown. The director portrays Kidlat crossing on the bridge in a succession of three scenes, which narrate his struggle to find his identity on this site of cultural conflict. By using the jeepney, a re-built vehicle left by World War II vehicles, as a symbol of the historical passage from the past to the present. Kidlat not only in his village but as well as in Europe these vehicles show the impact of American military technology has on his nationality.
When Kidlat gain the opportunity to leave his village to visit America with a foreigner, Kidlat was more than content to leave his village, as he even dreamed the whole village paraded and gave him a ceremony for his achievement to leave. But as he was leaving he promises the village that once he becomes rich he will give money to the village so they can have a traffic light stop for the bridge. Even though Kidlat was enthusiastic to leave, he still felt an obligation to his town. When he arrives in Paris the first he notices was 26 bridges and compares it his village by saying “Why can’t we have progress like this?” Kidlat compares everything he sees to his village’s progress, even though he was happy to be in Europe he still felt extremely attached his village making him confused of his own identity.
As much as Kidlat wanted progressiveness in his life, he expected to see the same progress in his own village. After Kidlat encounters the human cost of progress through his experiences in Europe, does he begin to question his own interest with progress and western culture. By the end of the film, he starts feeling small so infuriated with the modern world he gets on the incinerator and flies away to leave Europe, the director metaphorically shows Kidlat putting one culture above another is hard, thus he decides to start identifying himself as both cultures to find the bridge between them.
Great analysis of how the bridge plays a role in the film and in Kidlats psyche. Through your description of what the bridge meant in the scheme of the film I began to wonder what the stoplight represents. If that is one of the ways that he wants to give back to his community, it seems like there is additional symbolic value that we can find in that. That dream in itself does set a strange tone for the juxtaposition of lifestyles that is present through the film. I wonder what the stoplight represents to Kidlat.
I too, was interested in the symbolism of the bridge. I liked your point about the bridge being a kind of metaphor for the journey between native and colonialism. One of my other favorite scenes in the film was when Kidlat journeyed to Europe and saw the many ‘sky bridges.”
This is a great post! I like your analysis of the bridge metaphor as a “site of contest,” and your final line—about how Kidlat “decides to start identifying himself as both cultures to find the bridge between them”—is really thought-provoking. Your argument here gives us a much more nuanced way of looking at Kidlat’s response to the West than just “he rejects the western idea of progress.” It seems like western ideas about progress have become a part of his identity that he can’t wholly abandon (he’s still dreaming of space travel at the end). Instead, he ends the film looking for ways to bridge these different parts of his identity and experience.
I wonder how your idea that Kidlat wants to bridge the two cultures fits into the project of making the film itself. Is Perfumed Nightmare meant to function as a bridge between the two cultures?
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Perfumed Nightmare explores the clash between tradition and modernity, as Kidlat struggles with his cultural identity amid Western influence. His journey reflects the challenge of balancing heritage with progress.
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