Turumba

This film (drama)Also known asTurumba，is aPhilippinesProducerwomen sex，At1981Released in year 。The dialogue language isFilipino, Tagalog,，Current Douban rating0.0(For reference only)。

Kidlat Tahimik's second film "Turumba" (Kidlat Kulog Productions, 1983) serves as a virtual textbook illustrating how capital penetrates a traditional village and the transformation of collective relationships due to market and monetary dynamics. The symbolic representation of this process is the impact of cash relations on the religious rituals specified by the film's title, which highlights the changes that the production company brings to the market. In this festival, the elements that are separated in modern society as culture and religion have not yet been divided; the beautiful tourists— the Western public of Turumba—can still gaze and recreate behind the medium of the camera's intervention and its travelogue language. Thus, it is possible to list the formal elements that will be more ambitiously deployed and developed in "Mababangong Bangungot" (1977). A secondary symbolism characterizes the cooperation choices involved, including the acknowledgment and ostentatious highlighting of the inauthenticity of Western audiences and general travel narratives. Here, handicrafts serve as a medium that will never change but has become irrevocably unrecognizable. A German female tourist was fond of some decorations used during the festival and ordered more. The family, then the village itself, must recruit to gradually mass-produce these items, ultimately disrupting the village's periodic or ritual time and prioritizing the organizers' concerns over the source objects of the festival. Romy and his son Cardo (Homer Abiad) are sent to Europe to attend the 1972 Munich Olympics, visiting the First World just as the Third World is about to be fiercely impacted by it, which aligns with Kidlat's aesthetics.