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Lying Down In A World Of Tempest Lav Diaz I Alexis Tioseco Over and above describing himself as a filmmaker, Lav Diaz prefers the definition Indictment And Empowerment Of The Individual: of “cultural worker”. Driven by a sense of political engagement, he has denounced The Modern Cinema Of Lav Diaz the series of miseries suffered by the Philippines since the time of Spanish coloni- – p. 5 alism (followed by occupations by both the Japanese and the Americans, as well as a period of martial law), focusing particularly on the years of the Marcos dictator- II Alexis Tioseco In Conversation With Lav Diaz ship. It is a feeling of love for his compatriots and their suffering that pushed him to – p. 11 depict, with a beauty and sense of urgency rarely found in cinema, the daily grind of life in small towns and in the countryside. III Lav Diaz Yet the lengthy, majestic black-and-white frescoes, lasting anywhere between The Aesthetic Challenge Of ‘Batang West Side’ 4 and 11 hours, which brought him to notice on the festival circuit, surely cannot be – p. 37 restricted to kinship with the Slow Cinema movement. Characterised by a radical formalism, his cinematic approach is to recount the life and rhythm of his commu- IV Lav Diaz nity by means of the suffering and slowness that define it. It is for these reasons that Our Death, In Memoriam Lav Diaz can be seen as a major artist for our times: his cinema is that of a peda- – p. 41 gogue—something shared here with that of his intellectual, idealistic father and, still more, with Lino Brocka whose wish it was “to educate his people”—as well V Lav Diaz as bearing essential witness. The extraordinary duration of his films, their lengthy Poems For Benjamin Agusan shots displaying a superb harmony, their realism (“life in real time”), all combine – p. 45 to demolish the system in order to liberate ourselves from the constraints of the present day. VI Dodo Dayao & Mabie Alagbate It is with enormous pride that CINEMATEK, BOZAR and Courtisane Beer And Brocka come together to present the first Lav Diaz retrospective in Belgium—and, to date, – p. 61 the largest in Europe—and to welcome the director from 10–12 November for a symposium in Antwerp and two evenings in Brussels. VII Michael Guarneri Everyday Struggle, Struggle Every Day: Lav Diaz Rebolusyonaryo – p. 71 Nicola Mazzanti CINEMATEK, Director VIII Nadin Mai In Conversation With Lav Diaz – p. 83 Paul Dujardin BOZAR, CEO, Artistic Director Retrospective Programme Pieter-Paul Mortier – p. 96 Courtisane, Director 1 How to come to terms with the history of a country that is haunted by memories of colonization, rebellion and oppression, a country that continues to wrestle with itself in search for meaning and identity? The weight of this question makes itself felt in every frame, in every face, breath and gesture inhabiting the films of Lav Diaz. From his feature debut, Serafin Geronimo: Criminal of Barrio Concepcion (1998), to his latest From What Is Before (2014), all of his films are deeply rooted in the history and politics of his home country, the Philippines. They bear the wounds of a trou- bled past that have never been able to heal, as the shadows cast by the Spanish and American colonization, the conflict between Moro Muslims and Christians, and Ferdinand Marcos’ imposition of Martial Law still loom heavily over the country. Even though the dictatorship has come to an end almost thirty years ago, the harms and injuries produced by the past have never seemed to wither away, but have grown ever more inward. This legacy of trauma and disempowerment, of “stifled hands and silenced voices,” as Alexis Tioseco wrote, is what can be felt reverberating in Lav Diaz’ shattering tragedies of sin, guilt and redemption. It seems unlikely to be a coincidence that 19th century Russian literature, espe- cially the work of Dostoevsky and Tolstoy, has never been far from his mind. Already in Serafin Geronimo, which starts out with a quote from Crime and Punishment, Diaz seems to have established his main theme: the search for redemption, a theme which continues to run through his oeuvre, from the Tolstoy-inspired Death in the Land of Encantos (2007), in which a onetime political prisoner confronts his former inter- rogator, to Norte, the End of History (2013), which begins with a Raskolnikov-like figure committing murder, but develops into an allegory about Marcos. And just as the Russian novelists sought to depict “the Russian soul” by making full use of the temporal spaciousness of their prose epics, Diaz’ portrayals of the lives and suffering of the Filipino people unfold over epic lengths of time, stretching over multiple hours. This duration gives Diaz a grand canvas on which he patiently sketches painstaking diagrams of the factors and events that shape the multiple, interconnected lives of the people he observes, unfurling into panoramic meditations on morality, violence and From What Is Before (Mula sa Kung Ano ang Noon), Lav Diaz, 2014 © Sine Olivia Pilipinas death, torn between humanist faith and materialist despair. Cinema as window onto the troubled soul of the world, as a quest for the inner life of reality in all its mystery and ambiguity: in Lav Diaz’ work yesteryear’s dream of André Bazin appears to have found a contemporary follower, a filmmaker who is not about to tone down his search any time soon. As he himself has said, “I would go to any extent in my art to fathom the mystery of humankind’s existence. I want to understand death. I want to understand solitude. I want to understand struggle. I want to understand the philosophy of a growing flower in the middle of a swamp.” Cinematek, Bozar and Courtisane, in collaboration with VDFC, are proud to present the first Belgian retrospective to date of the work of Lav Diaz. On November 10–12 the filmmaker will be present in person to talk about his work, as well as that of Lino Brocka, who has made an indelible mark on the culture and cinema of the Philippines, and to whom Diaz paid homage in Evolution of a Filipino Family (2004). Stoffel Debuysere KASK/HoGent, Programmer 3 Published in Published Alexis Tioseco Criticine Indictment And October 2005 1, Empowerment Of The Individual: The Modern Cinema Of Lav Diaz Batang West Side, Lav Diaz, 2001 I 5 “The salvation of this human world lies nowhere else than in ✳ ✳ ✳ the human heart, in the human power to reflect, in human meekness and human responsibility.” 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 —Vaclav Havel 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 From the first frames of his first feature-film—a memorable long shot of a man on his Crime and Punishment translated into Tagalog—Diaz’s hero was akin to that of knees amidst an open field in the Dostoevsky-inspired Serafin Geronimo, Kriminal Dostoevsky but atypical of Philippine cinema; a quiet man with a guilty past seeking ng Baryo Concepcion (1998), to the final frames of his last—the epilogue A Story of redemption in the present. With Kriminal, Diaz laid down his archetype character Two Mothers that closes Ebolusyon ng Isang Pamilyang Pilipino (2005), Lav Diaz has and began to plot the path of his aesthetic. been chronicling the crushing weight of guilt on those who seek redemption. Diaz’s In 1999 Diaz completed two more films for Regal films (producers of cinema is modern in many respects, but none so much as in relation to the norms Kriminal), the farcical Burger Boys, whose shooting actually began before Kriminal, and history of Philippine society, culture, and cinema. In seven years and spanning and Hubad Sa Ilalim ng Buwan. Burger Boys, about a group of youths writing a screen- seven feature-films (including the forthcoming Heremias), he has developed a body play about a group of youths planning a bank robbery, is a curious film, and one that of work that stands alone in contemporary Philippine cinema, seeking out new seems most out of place in the context of Diaz’s oeuvre. Filled with close-ups, quick ground both formally and thematically, and challenging the legacy left behind by cutting, conscious camera angles, strange costume design, and oddball characters, it the great Lino Brocka. is most interestingly seen as a genre experiment by an anti-genre filmmaker. Hubad Sa Ilalim ng Buwan brought Diaz back to more familiar territory. ✳ ✳ ✳ An ex-priest and failed husband (Joel Torre), whose daughter (played by starlet Klaudia Koronel) sleepwalks in the nude plagued by memories of being raped, As a country, the Philippines has had a troubled and arduous past. Initially strug- questions his decisions and examines his past, as his life slowly crumbles before gling to free itself from Spanish and American colonizers, it now, independence him in the present. Again, we have a hero, quiet, introverted, searching. The film gained, wrestles with itself in search of identity and direction, pointing fingers when received favorable reviews, and screened in the Berlin International Film Festival, it ought to take responsibility. The shadow cast by Ferdinand Marcos’ imposition but was also re-cut with additional sex scenes (shot without Diaz) inserted at the of Martial Law stills looms prominently over the country, nearly twenty years after producer’s behest.