Bahag Ko, Mahal Ko (Japanese Summers of a Filipino Fundoshi, 1996, 40 mins) and Selections from Video-Palaro: The Video Diaries of Kidlat Tahimik (1992 – 2006)
Kidlat Tahimik takes the bahag, traditionally a garment of respect, as a symbol of everything we have forgotten as a result of being the subjects of imperialist powers for more than three hundred years. The film starts as a conversation between Kidlat and his son, Kabunyan about Marilyn Monroe’s immense sex appeal which later transforms into a discourse on the malleability of concepts of beauty. The film then transports the discourse to Japan, where the tragic tale of the bahag, or fundoshi, is shared.
Video-Palaro includes five interrelated video diaries by Kidlat Tahimik , commissioned and produced by the JVC-sponsored Tokyo Video Festival from 1992 to 2006.