In which violence is not an answer nor a solution, but a reaction. I think the 60 minute cut is better, but I couldn't find anywhere. If there's ever an opportunity to go to the Philippines, here's hoping it is black and white and full of despair.

I think I should find the one-hour director's cut since this 40-minute cut felt rather like summary or demonstration. Many of the things felt too vague and when I look at the write-ups of some of the others who saw this film, I think as if I'd seen different one. It's quiet and reduced like others, cinematic expression is minimalist to the point that it feels almost non-existent but Diaz' work has always been the kind of cinema that gains its strength in its overall atmosphere and structure. Unlike others I've seen, Butterflies Have No Memories didn't manage to do a thing for me. Usually with Diaz, he manages to hurt me even physically (raping scene in Norte f.e.) but I failed to "live" this film. To be frank, it felt too hurried - not exactly something you expect to see from Diaz. Waiting for the 61-minute cut!

This review may contain spoilers. I can handle the truth.

This film shows just how much of a hold memories have over us, whether it be from trauma or nostalgia. The distinction lies in how they are remembered and by who. These are the riddles Diaz is most fond of investigating.
This is always traced back to the political event. Often an actual historical event, it must be dealt with painstakingly.
What's interesting is that it is retorted not with direct commentary, but with poetry. Instead of statistics, we are made to empathize with a person's suffering. Instead of charts or graphs, we are given metaphors and symbols to feel and define things ourselves.

This is a loose framework Diaz holds on to throughout his filmography. That makes this short film actually a good starting point for those intimidated by his longer work.

That final scene has been playing in my head for double-digit hours all the same and it will be in my memory for much much longer.

Despair is a bitch

I hope i am not the only one who watched the 42mins cut. Hope there will be a 1hr cut!

Acredito que esse seja um ótimo filme para entender o "estilo" de Lav Díaz. Múltiplos Núcleos, Planos longos com ênfase no tempo e, de certa forma, anticlimático de uma forma boa. Vale muito a pena.

This film shows just how much of a hold memories have over us, whether it be from trauma or nostalgia. The distinction lies in how they are remembered and by who. These are the riddles Diaz is most fond of investigating.
This is always traced back to the political event. Often an actual historical event, it must be dealt with painstakingly.
What's interesting is that it is retorted not with direct commentary, but with poetry. Instead of statistics, we are made to empathize with a person's suffering. Instead of charts or graphs, we are given metaphors and symbols to feel and define things ourselves.

This is a loose framework Diaz holds on to throughout his filmography. That makes this short film actually a good starting point for those intimidated by his longer work.

That final scene has been playing in my head for double-digit hours all the same and it will be in my memory for much much longer.

라브 디아즈의 연출 방식에 대한 타당성을 생각해본다. 콘스라스트가 떨어지는 흑백 화면은 디아즈의 영화가 가지는 지역성과 형식을 일치시키려는 방편으로 보인다. 다시 말해, 망해버린 금광으로 파괴된 피사체를 카메라의 표현과 동일 선상에 두려는 윤리적 시도이다.

그런데 적어도 이 작품에서는 그런 방식이 역사적으로 파괴된 산천이 아닌 역사 자체를 기억하지 못하는 나비를 찍는 것을 목표로 두고 있다는 점에서 잘못 계산된 배려가 아닌가 싶다. 역사를 외면하려는 세 사람 앞에서 날아 오르는 마사라는 나비 말이다.

특히 나비를 시점 쇼트로 잡지 않은 것은 디아즈가 자신의 집착에 불필요하게 사로잡혀 있다는 반증이다.

디아즈가 밝히고자 하는 역사로의 직면은 그의 아상에 그만 잠들어 버렸다.

People living in a dying mining town lament what happened to their town. Then a Canadian immigrant who hasn't been there since her childhood returns. I don't usually write my reviews of short film but calling this a "short" is a tad misleading since it clocks in at only an hour. But it's directed by Lav Diaz so this is definitely a short film by his standards. He can in fact tell a complete story, in his voice and in his style in just an hour. But even in this brief period, it's a bit dense. You have to be a Filipino or know a little bit about Filipino history, culture and society to completely get what he was going for. That said, as someone who is both, this isn't his best work but it's still worth watching regardless.

I just love lav Diaz and this adds to that. Iconic ending.