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.
A young man comes to the big city to track down his girlfriend, gets sucked in, spat out: the classic narrative. I can’t really speak to the subtext here: presumably there is some level of allegory about the Marcos regime at work (Mrs Cruz, abducting village girls into prostitution rings, looks a bit like Imelda). But then again a lot of the social criticism is fairly clear: this is a film about poor people, those marginalised within a crumbling, exploitative, venal, corrupt system. There are no protections for workers, no safeguard against crime, and the rising anger our hero feels — towards the dehumanising effects of his disenfranchisement, and those who would exploit him — propel him towards the film’s (withheld, but evidently bleak) conclusion. This is all heady stuff — violence, underworld criminality, gay sex rings (touched upon in a way that’s barely sensational, more a weary expectation of normality) — but done with empathy towards the suffering.
FILM REVIEW Director Lino Brocka | Writer Clodualdo del Mundo, Jr (based on the novel Sa mga Kuko ng Liwanag by Edgardo M. Reyes) | Cinematographer Miguel de Leon | Starring Bembol Roca [as “Rafael Roco, Jr”], Hilda Koronel | Length 125 minutes || Seen at BFI Southbank (NFT2), London, Monday 30 January 2017
FILM FESTIVAL FILM REVIEW: London Film Festival || Seen at BFI Southbank (Studio), London, Tuesday 14 October 2014 || My Rating very good
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.
CREDITS || Director/Writer/Cinematographer Lav Diaz | Starring Perry Dizon, Hazel Orencio, Roeder, Joel Saracho | Length 338 minutes
FILM FESTIVAL FILM REVIEW: London Film Festival || Director Lav Diaz | Writers Lav Diaz and Rody Vera | Cinematographer Lauro Rene Manda | Starring Sid Lucero, Angeli Bayani, Archie Alemania | Length 250 minutes | Seen at BFI Southbank (Studio), London, Sunday 13 October 2013 || My Rating very good
It’s been a few days since I saw this epically long slow-burning Philippine drama, but it builds up over its length an uncanny quality that still resonates in my mind. Partially that’s to do with the running time. When your movie is as long as four hours or more, and made up of slow-paced quietly observant scenes, it creates a different way of watching, allowing one to relax into it (at least if it’s a good film, which this one is). As such, my star rating may not really do it justice, but that’s only because I’m still coming to grips with director Lav Diaz’s project here.