By Paddy Mulholland
The slow death, the anguished stagger of a wounded labourer in Evolution of a Filipino Family (2004), the gradual, forced mental disintegration of a sex slave in Florentina Hubaldo, CTE (2012), is not in Lav Diaz’s latest, Genus, Pan. (2020). Noted as one of the Filipino filmmaker’s shortest features to date, it’s also one of his most direct, most confrontational, least overtly compassionate.
Por Monica Delgado
En esta breve entrevista, el cineasta filipino Lav Diaz nos cuenta un poco más sobre The Halt, una de las mejores películas de este Cannes 2019.
By Monica Delgado
Lav Diaz’s The halt (Ang Hupa) was presented in the latest edition of the Directors’ Fortnight in Cannes. Because of a previous commitment with Film School San Antonio de los Baños, in Cuba, Lav couldn’t assist to the usual Q&A after the screenings, and we were disappointed not to have, first hand, his impressions about this new almost five-hour film.
By Mónica Delgado
Historic amnesia and negationism, this two adored practices by dictatorships, are posed by Lav Dias as a state of suspension. He imagines a near future, in the Philippines, where in the middle of a “Dark Killer”, the sunset and the turning of the days in eternal nights, a dictator finds the proper climate to keep cementing his power. The darkness blankets him, and the inhabitants left after the catastrophe, seem to be lethargic under this influence of fear.
Por Mónica Delgado
La amnesia histórica y el negacionismo, esas dos prácticas adoradas por las dictaduras, son propuestas por Lav Diaz como un estado de suspensión. Imagina un futuro cercano, en Filipinas, donde en medio de una “Dark Killer”, la muerte del sol y la conversión de los días en noches eternas, un dictador encuentra el clima para seguir afianzando su poder. La oscuridad lo cobija, y los habitantes, que quedan tras la catástrofe, se muestran adormecidos bajo ese influjo del temor.
By Aldo Padilla
Narrating a country’s historical moment requires understanding it as a complex cycle. It’s not enough with the ambience and historical context. It’s important to suggest the entire travelled road to this day and try to incorporate it in the work. The Philippines is going through a complex moment where abuses of the past seem to come back, since the government appears to be outsourcing violence and keeping the population in fear.
Por Aldo Padilla
Para contar los abusos del pasado Lav Díaz decide recurrir al lenguaje y a la estructura del musical, para generar nuevas formas de manifestación, a partir de un experimento donde las melodías a capela magnifican el abuso del opresor y dignifican las denuncias del pueblo.
By Michael Guarneri
After From What is Before (2014), a personal recollection of «political cataclysm» Martial Law hitting the Philippines in the early Seventies, Lav Diaz’s new effort Storm Children – Book One tackles natural cataclysm «Yolanda», the tropical cyclone that struck the archipelago in November 2013, leaving thousands of victims and damage to the value of several billion pesos.
Por Mónica Delgado
Lav Diaz se propuso un relato ambicioso sobre la misma historiografía de su país, a partir de un caso particular, extraído de la fuente moral de un Crimen y Castigo de Dostoievsky, pero adentrándose en una náusea existencial y de clase en plena Filipinas del siglo XXI.
Directors:
Mónica Delgado Ch.
José Sarmiento Hinojosa
ISSN 2311-7451
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