Melancholia (2008)

Martin Scorsese’s three-and-a-half hour epic The Irishman is out in UK cinemas on Fri 8 November, ahead of it dropping on Netflix (for whom it was made), and it got me thinking about other very long films. I have a tag for such films, which I define as more than three hours, but it’s impossible to think of durational filmmaking without also thinking of Filipino auteur Lav Diaz, who has made his name making intensely long films, where something the length of Scorsese’s latest, something like Norte, the End of History, would be considered a fairly short work. In any case, I’m doing a themed week around excessively long films, so if you’re trying to watch what I’m writing about, you may well run out of time.


I don’t tend to do plot summaries in my write-ups (I hesitate to call them “reviews”) because that kind of thing can be discovered elsewhere, or by watching the film. For example, Melancholia‘s Wikipedia page has a pretty thorough summary that’s mostly quite accurate and yet I noticed at least one stretch of about an hour that took place between successive sentences of that summary, and that’s hardly an anomaly. Because that, after all, is Lav Diaz’s filmmaking, a man not unreasonably known as an avatar of the modern “slow cinema”. Melancholia does have more ‘plot’ than some of his other works (I’m thinking of Heremias or even Norte or A Lullaby to the Sorrowful Mystery): the setup of two people and their zvengali-like ‘therapist'(?) who are enacting real-world role-playing scenarios suggests the theatre group in Out 1 gradually breaking up, ripping apart not just their interpersonal relations but the narrative of the film itself. There is, of course, a lot of wandering about in the jungle (particularly in the film’s last act), with Diaz’s beautiful fixed long shots of mountainous roads a familiar sight from anyone who’s seen any of his films. And within the film’s psychodrama, there’s a story of what I suppose is the Philippines itself, colonised and cast aside, featuring an elaborate end game that makes no sense except in the mind of the power-mad manipulator. I can’t really describe it better than that, I’m afraid; if you don’t like durational cinema, you may not find much that will sway you, but there are interesting games being played here.

Melancholia film posterCREDITS
Director/Writer/Cinematographer Lav Diaz; Starring Angeli Bayani, Perry Dizon; Length 450 minutes.
Seen at home (DVD), London, Saturday 31 March 2018.

Mula sa Kung Ano ang Noon (From What Is Before, 2014)

The Filipino filmmaker Lav Diaz makes very long films. By all accounts, last year’s Norte, the End of History was among his most accessible features, and it’s three-and-a-half hours long. This new historical epic is a full two hours longer than that. It deals with a small coastal village (or “barrio”) in the early-1970s, in a period leading up to President Marcos’s declaration of martial law in 1972. However, if at a certain level Diaz seems to be railing against that regime and what it did to the country — and rather strongly too, given the occasional apocalyptic imagery (burning houses, cattle hacked to death, a treacherous rock with imputed healing powers) — it can also be seen as a rural drama of a community torn apart. The chief characters are Itang (Hazel Orencio) who cares for her developmentally challenged sister with little support or means to make money, a winemaker Tony (Roeder) with questionable motives, a tribal elder Sito (Perry Dizon) who despite everything wants to stick with his rice farming but also seems to be called upon to adjudicate community squabbles, and the priest Father Guido (Joel Saracho) who visits from time to time. Of course, over such a long running time, the interactions are developed in plenty of detail, and there are many other characters involved, but these are the chief ones, and it’s around them that the themes coalesce. The cinematography (also by the director) has a precise framing and its black-and-white palette is sometimes strikingly deployed. What drama exists is unforced and unravels slowly, the chief mysteries being what’s been going on around the village, and the arrival in town of first an itinerant woman selling goods, and then the military. It may not wow its viewers with big setpieces in the way of Hollywood thrillers, but over such an extended running time, it cannot help but linger in the mind for some time afterwards.

From What Is Before film posterCREDITS
Director/Writer/Cinematographer Lav Diaz; Starring Perry Dizon, Hazel Orencio, Roeder, Joel Saracho; Length 338 minutes.
Seen at BFI Southbank (Studio), London, Tuesday 14 October 2014.