There’s a specific exchange of dialogue in "Perfumed Nightmare" where the film’s main character, Kidlat Tahimik the jeepney driver, responds to a question by his passenger, a white American businessman – simply referred to as “Big Boss” in the end credits.

“Kidlat, why do you admire America so much?”

"Because in America, I could become an astronaut. Here, I am only a jeepney driver."

The premise of “Perfumed Nightmare” is simple but substantial. Kidlat Tahimik (the writer, director, and star) sought out to create a semi-autobiographical documentary-essay type of film. A satire on globalization, neo-colonialism, modernity, and capitalism, he plays the film’s self-titled main character, a jeepney driver obsessed with anything and everything about western culture.

He meets Big Boss when he gets on his jeep asking for a ride to Manila. They speak of Kidlat’s admiration for America, and eventually he is hired by Big Boss to help him bring and drive a Philippine-made jeepney to Paris. As he stays in Paris, he witnesses the wonders of innovation and progress never before seen in the Philippines, but he also experiences disillusionment as the western paradise he dreamt of turns out to be far from reality. 

Despite being released way back in 1977, what Kidlat is able to articulate in this film is unfortunately still applicable especially with the current PUV Modernization program being brought back to the limelight. However, Kidlat’s jeepney driver character ironically doesn’t seem to represent the jeepney drivers of today; instead, it more accurately represents our government’s perception on what it means to achieve “progress.” 

Our government’s promise of progress and modernization through the importation of vehicles from foreign countries mirrors the way Kidlat would rather be an astronaut in America than a jeepney driver in the Philippines. Just like him, we look to foreign nations as models of innovation and we inevitably end up forgetting about our own selves.

However it’s essential to remember that this isn’t an “Us Versus Them” scenario, it’s much more nuanced than that. Perfumed Nightmare is a complex film that’s more insightful than just didactic anti-imperialist, capitalist, and modernist sentiments. It’s a playful and unpretentious critique of innovation under capitalistic means.

And similarly, the current transportation issue is something that also can’t just simply be seen in black and white. Being anti-phase out doesn’t mean one is against the improvement of our transportation system, and being pro-modernization is not equivalent to being in support of harming the livelihoods of jeepney drivers. 

There is absolutely nothing wrong with progress. In theory, the PUV Modernization Program’s promises of having safer, more comfortable and environmentally safe modes of transportation is a godsend. However in reality our current administrations have been littered with corruption and abuse of power. How then can we be expected to trust our government that this program isn’t just a disguise for a money-making scheme? Is it truly progress if jeepney drivers won’t even be able to afford the newly imported vehicles, and therefore losing their already low-paying jobs? We shouldn’t compromise our fellow countrymen while striving for societal improvement; there should be a way to have both.

"Stop crying like a baby, Kidlat. One market vendor less, means one parking space more. Progress, my boy!"

This is said by Big Boss in the latter portion of the film, when Kidlat’s disillusionment in Paris is slowly sinking in. The old lady street vendor who sold eggs with two yolks that Kidlat befriended is now gone after a newly built supermarket ends her business. The very same American businessman that Kidlat once admired has now betrayed him.

In a climactic scene towards the end of the film, Kidlat literally blows away Big Boss’ high profile friends and makes them all roll on the floor as an act of defiance.

“If the small chimneys work, why the super chimneys? If the small markets work, why supermarkets? If small airplanes work, why super flying machines?”

This is where the film’s similarities with our present culture arguably ends. The perfumed nightmare that Kidlat warned us about back in 1977 isn’t exactly the same as our own nightmare right now. Despite its serious topics, the film still retains its humorous and satirical sensibilities all throughout. Even at the end as he realizes the reality that comes with western innovation, he is still shown with his infectious and innocent smile. I doubt that we can deal and process our problems today with the same mentality. 

I like to think Kidlat was more hopeful then, as his own character realizes towards the end of the film how valuable his own Filipino culture actually is. Unfortunately I don’t think we can say the same with our own society, and I also don’t think I can say the same about myself. We still have our colonial mentality. Unlike Kidlat, we still haven’t reached that point where we finally choose to value ourselves rather than naively admiring others. I’m not as hopeful as he was, although I really wish that I could be.