Lav Diaz

Lav Diaz – Lahi, Hayop AKA Genus Pan (2020)

Taking leave from their jobs at a gold mine, three workers journey to their home village on foot through the spectacular yet unforgiving wilderness of the mythical island of Hugaw. As time passes and their conversations intensify, buried histories emerge and a sense of psychosis invades the scene. As ever, Lav Diaz’s exquisitely subdued black-and-white images and patient rhythm lend a Brechtian register to the drama; almost always filmed from the same fixed distance, each scene is an immaculate tableau vivant. Behind the film’s folkloric façade, Diaz once again taps into the collective memory of defiant struggles against the tyranny of both contemporary Filipino society and colonial brutality, centred on the timeless image of men walking – one of the key traits of Pan. (Hyun Jin Cho, BFI) Read More »

Lav Diaz & Brillante Mendoza & Kidlat Tahimik – Lakbayan (2018)

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Lakbayan (Journey) is an omnibus film that consists of Brillante Mendoza’s Desfocado (Defocused), Lav Diaz’s Hugaw (Dirt) and National Artis for Film Kidlat Tahimik’s Lakaran Ni Kabunyan (Kabunyan’s Journey).

It tells three tales of the Filipino journey. An unemployed cameraman joins a protest march of farmers asking the government to help them reclaim their ancestral land stolen by the powerful in Desfocado. In Hugaw, it is also the powerful that controls an island where a young miner contests the problems and the status quo. A mosaic artist is empowered as he arrives at his destination while traveling from island to island in Lakaran Ni Kabunyan. Read More »

Lav Diaz – Serafin Geronimo, kriminal ng Baryo Concepcion aka The Criminal of Barrio Concepcion (1998)

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Debuting to critical acclaim in 1998, Diaz’s Serafin Geronimo, Kriminal ng Baryo Concepcion, announced the arrival of a major talent, and a possible new direction for Philippines cinema. Where Brocka had examined society’s effect on the individual, Diaz’s Kriminal looked at the effect of the individual’s actions on his conscience. His Russian influences written on his sleeve— the film begins with a quote from Crime and Punishment translated into Tagalog— Diaz’s hero was akin to that of Dostoevsky but atypical of Philippine cinema; a quiet man with a guilty past seeking redemption in the present. With Kriminal, Diaz laid down his archetype character and began to plot the path of his aesthetic. Read More »

Lav Diaz – Melancholia (2008)

Crowned best film in Venice’s Horizons section, Lav Diaz’s latest madly uncommercial 7½-hour magnum opus, “Melancholia,” sets a trio of survivors wandering the country in a dirge to those lost to disaster. To reconcile themselves to the deaths of their leftist comrades and loved ones, two women and a man undertake a succession of role-changes as a radical form of grief therapy. But the alienation implied by their incarnations of a prostitute, pimp and nun, assumed at the pic’s opening, reads as anything but therapeutic. Read More »

Lav Diaz – Siglo ng pagluluwal AKA Century of Birthing (2011)

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One of the most adventurous filmmakers to emerge from the Philippines in decades, Lav Diaz is, in many ways, the spiritual father of what some have called the Filipino New Wave, a group of filmmakers who have adopted digital technology to create an intimate and raw style. At the same time, he stands separate from them, often working on an epic scale and addressing historical shifts in Philippine society. (See his epochal Ebulysion: Evolution of a Filipino Family.) Read More »

Lav Diaz – Ang panahon ng halimaw AKA Season of the Devil (2018)

Synopsis
Philippines, late 1970s. A military-controlled militia is oppressing a remote village, spreading terror both physical and psychological. The fearless young doctor Lorena who opened a clinic for the poor disappears without a trace. Her husband, activist poet Hugo Haniway, attempts to find her. Read More »

Lav Diaz – Burger Boys (1999)

Description:
“There’s not much written about this film online, there are interviews in which Lav actually mentions this film, but that’s it, perhaps, no one has taken actual interest on this. I have written a paper about this for a film theory class, but I’m afraid its something that I can’t have posted online, haha, reading back, its kind of shitty. Read More »