Welcome to Khavn's World
What separates man from other beings? Is it the ability to talk, the capacity to process stimulus, or the invaluable imposable thumb?
While all of these might constitute the degree of sophistication, our race has developed over lesser forms. It is the ability to create that sets us apart from others.
What started out as a necessity to create tools for survival evolved into a creation of self-expressive means. Eventually, this progression carved out a depth in the human soul that can only be filled by creation. As modern art developed, people found the capacity to preserve moments in celluloid, a craft that not only produces form but concretizes vision.
“What I love most is creating a world within this world. At the same time being a creator means sharing,” says Khavn Dela Cruz. Filmmaking for Khavn represents a confluence of everything that his profound psyche and exceptional comprehension have gathered. This poet, musician and avant-garde filmmaker has crafted a world that caught the sensibilities of his viewers, but more so, provided an ample outlet that would fit all his talents into one.
Just like any kid at the time, Khavn was exposed to films on TV. “I liked watching “Piling-piling Pelikula” on TV. When I was a kid, there were programs like that where you can watch all sorts of Pinoy films,” Khavn shares. Although his fascination with film was cultivated early on, it wasn’t the first medium he got his hands on. “My first art form was visual arts. When you’re a kid, you just like to draw,” Khavn recalls.
While the young Khavn did well in his art subject, it merely served as a stepping stone to his exploration of other means of self expression. In high school, Khavn was engrossed with a totally different form - music. “Sobrang nahibang ako. Nahibang talaga ‘yung word kasi araw-araw ang practice at OA ‘yung dedication,” Khavn shares.
Armed with his Yamaha Electone, Khavn ripped high school, eventually forming a band towards the end of his stint in secondary school. However, his transition to college opened Khavn up to a medium that proved to be more rewarding. “What I achieved in creative writing, I wasn’t able to achieve in music. Music is more of an interpretation, while writing is more on creation,” Khavn shares.
After transferring from Computer Science to Developmental Studies, Khavn finally found the slot that he hoped for at the Interdisciplinary Studies of the Ateneo de Manila University. There he focused on literature, again exhibiting the same passion and obsession which he had in his previous medium into creative writing, poetry, fiction and script writing. “Parang sariling boses (ang pagsusulat), dun ko talaga na-diskubre ‘yung sarili ko,” Khavn recalls.
From literature, Khavn’s transition into films was sparked by a series of events starting with a short film by Joey Agbayani entitled “Kidlat.” After reading an article on Kidlat Tahimik and studying under the legendary film maker, writer and actor when he taught at the Ateneo, Khavn began his own venture into film making.
The first of many of Khavn’s independent films was entitled “Burol.” The short film explored the possibilities of death and what he wanted his funeral to be. Unfortunately, a copy of this film no longer exists, a fact that dismays the artist. “Napatungan na sya so wala na akong kopya. Panahon pa ng VHS yun kaya pag napatungan wala na,” Khavn shares.
When asked what made him pursue his craft, Khavn simply explains that there’s no way of explaining. “It’s just something you can’t explain. Siguro parang pag-ibig din yan, di mo alam kung bakit ka naa-attract sa isang tao,” Khavn says. “Basta may tumutulak lang sayo, para kang possessed,” he adds.
Drawing inspiration from post surrealist literary works, Khavn executes his craft relying on intuition and a free and collaborating environment, a perspective that involves the unpredictability of nature and respects other temperaments. “One of my ideologies is to let the world in. The unexpected inclusion of reality, when you are making a screen play or thinking of a concept, sometimes or most of the time, produces a better film,” Khavn shares.
Some of the deconstructions by critics solicited by Khavn’s works include a sense of a devil-may-care punk attitude that translates to the aesthetic of his films. The artist’s films exude unrestrained emotions and perspectives similar to the movement and the music that breaks barriers with each riff. On the other hand, underneath the brash exterior of his works, Khavn paints a picture of romanticism. “May dalawang angulo, ‘yung pag-ibig at kawalan nito at sa likod ng bawat taong wasak o proyektong wasak may isang pusong wasak,” Khavn relays.
Scrutiny aside, Khavn’s works boil down to treading the edges between popular and extreme cultures. “I’m all for pushing the envelope, pagwasak ng boarders,” Khavn says.
Khavn’s exploits in the field of literature has earned him multiple Carlos Palanca Memorial Awards for his poetry and fiction works. While his musical ventures resulted into three bands, The Brockas; Fando and Lis, a duo between Khavn and his sister Ledh; and Vigo, the name of which was taken from French filmmaker Jean Vigo.
His films on the other hand have gained an international audience and screened at film festivals around the world including the International Film Festival Rotterdam in the Netherlands, Paris Cinema International Film Festival in France, Osian’s Cinefan Festival of Asian and Arab Cinema in India, Motovun Film Festival in Croatia, and the Sarajevo Film Festival in Bosnia & Herzegovina.
Khavn’s multi-faceted modes of expression mirror the artist’s versatility in his creativity, something that he owes to his diverse and varying experiences. “Madami kang pagkatao. Malawak ka kasi malawak din yung karanasan mo. Sobrang daming nangyayari sa mundo, lagpas dun sa tinitirhan mo, sa bansa mo. Lahat ‘yun, it forms your art,” Khavn shares.
Although his outputs cause a stir in the psyches of his audiences, Khavn is very much in tune with the level of insanity needed to continuously create provocative materials. “In a way, kailangan may pagkaluwang din ‘yung turnilyo mo. Hindi kasi siya kilos ng left side of the brain, parang hindi siya logical,” Khavn shares.
Khavn’s unique perspective towards his art is summed up in a piece published in his high school literary folio wherein he wrote, “Ang sining ay kabaliwan, at masarap magpakabaliw.” The artist’s sensibilities, coupled with his gift in wielding content, sounds and aesthetics, are projected in a shroud of lunacy, love and life. – Article courtesy of Manila Bulletin
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