Hele sa Hiwagang Hapis (A Lullaby to the Sorrowful Mystery, 2016)

Another of Lav Diaz’s epic-length films of people wandering about in the woods, which appeals to a certain type of self-congratulatorily masochistic film geek (I can hardly exempt myself). That said, it’s not that it doesn’t have its power, just that it’s rather attenuated if you’re not particularly familiar with Filipino history.

This is a story set around 1896 against the background of the Philippine Revolution, whose leader was Andres Bonifacio. Most of the characters in this film are connected with the key players and events (such the execution of Dr Jose Rizal, and the betrayal of Bonifacio by another revolutionary leader), and these are mentioned plenty of times, especially during an opening section set in the city, which features some lengthy dialogues in English and Spanish, but also in the long period of searching that Bonifacio’s wife Gregoria (Hazel Orencio) undertakes. I gather, too, from some quick Wikipedia research that at least some of the key characters (the ailing political leader Simoun, for example, who is seen for much of the film being carried across the islands by two retainers in the company of his friend) may be drawn from a novel by Rizal, albeit one based in part on the revolutionary actors in this national drama.

My point, though, is mostly that this is a film which is densely filled with allusions to Filipino history and literature, and which probably makes most sense on that level. There are occasional flourishes of supernatural mystery (a masked character who appears in the forest), somewhat à la Thai director Apichatpong Weerasethakul, but the real star here is the fabulous monochrome cinematography. The landscape is lush and threatening by turns, and some of the set-pieces are really something.

However, my immersion in the world of Lav Diaz, for all that it has many pleasures, does make me greatly appreciate the concision of a good 90-minute film.


SPECIAL SCREENING FILM REVIEW: Lav Diaz Journeys retrospective
Director/Writer Lav Diaz | Cinematographer Larry Manda | Starring John Lloyd Cruz, Piolo Pascual, Hazel Orencio | Length 485 minutes || Seen at London Gallery West, London, Thursday 2 March 2017

Ang Babaeng Humayo (The Woman Who Left, 2016)

At a certain level, this is a classic story of revenge, as Horacia (Charo Santos-Concio) is released from prison after 30 years of false captivity and seeks out the rich man who set her up. However, this is a Lav Diaz film, so events unfold slowly, in high-contrast black-and-white. As Horacia formulates her plan she comes into contact with a number of poor street people, and getting to know them becomes in many ways more important than the plot. It is, then, I suppose a film again about Filipino society (at a specific point in time, the late-90s) but also about time taken away — which is a little bit of meta-commentary for the patient audience, given the usual length of Diaz’s films (though this one is under four hours).


SPECIAL SCREENING FILM REVIEW: Lav Diaz Journeys retrospective
Director/Writer/Cinematographer Lav Diaz | Starring Charo Santos-Concio | Length 228 minutes || Seen at London Gallery West, London, Sunday 5 March 2017

Heremias: Unang aklat — Ang alamat ng prinsesang bayawak (Heremias: Book One — The Legend of the Lizard Princess, 2006)

Right, you probably all know this film is long: it’s Lav Diaz, and events will unfold as they will. Once you get over that — and the title which playfully suggests some kind of mystical/fantasy epic poem — the movement of time isn’t really an issue, and there’s necessarily a sort of documentary effect to the extreme length, as we watch our titular protagonist (Ronnie Lazaro) trudge along endless roads with a group of vendors selling their wares from ox-drawn carts. Heremias at length peels off on his own, and, at length, gets caught in a typhoon, from which he takes shelter. When he wakes, his cow has gone and his cart is burnt. By this point, we’re at around hour four and this is the mysterious crime he’s trying to unravel (after a fashion), but things go off track again and there’s a criminal conspiracy which reveals the limits of power in an autocratic society. So there are political themes (present in much of Diaz’s work that I’ve seen), and then there’s the repeated motif of roads stretching off across the landscape, into which (or from the horizon of which) Heremias trudges, seemingly endlessly. At great, great length.


SPECIAL SCREENING FILM REVIEW: Lav Diaz Journeys retrospective
Director/Writer Lav Diaz | Cinematographer Tamara Benitez | Starring Ronnie Lazaro, Sid Lucero | Length 510 minutes || Seen at London Gallery West, London, Friday 3 February 2017