An eight-hour meditation on the maddening persistence of sadness in this world.
A story about victims of summary executions. Three people start a strange therapy to escape their agonies.
A story about victims of summary executions. Three people start a strange therapy to escape their agonies.
My face is scattered all over the Phillipines.
This is the land of the mid-life existential crisis. This is the land of the fragmented and shattered. This is the land of the dead. This is a land of pain and sadness. This is Lav Diaz. This is the Phillipines. This is Melancholia.
The world made here is malicious. There is no good. Black omens and red herrings fill the screen, lies are told to cover up true intent. Everything is hidden, everything is just round the corner, only barely out of sight.
The static shots here allow the actors to become their characters most completely. Even the way one walks becomes defined by the screenplay, by the atmosphere, Diaz's camerawork…
Melancholia 08 review (spoilers ahead)
Art to me is above all, at its best, a means of pure expression. It's a way to make the intangible tangible, bring emotions and ideas to life. All my favorite pieces of art, from music to poetry to cinema, were able to capture feelings and concepts close to me - like they reached into my heart and ripped those feelings straight out for me to view with fresh eyes. Things like White Ferrari by Frank Ocean, or the season 3 finale of Bojack Horseman, or Eternal Sunshine of the Spotless Mind that move me so much in ways I couldn't possibly describe. Things you just have to experience, and they either connect with you…
Lav Diaz's Melancholia is another one of his butt-numbingly long films that pick apart society. Diaz does not make films with large budgets. There's clearly limitations, and we can see that in Melancholia, where the footage is grainy and not exactly HD, the production design is basic, and the sound mixing is haphazard. Yet what Diaz proves is that cinema requires not spectacle and beauty, but ideas and vision.
Melancholia is split into three parts. The first section lasts for two hours and fifty minutes. Immediately it becomes apparent that the film's lead actress, Angeli Bayani, is a real talent. Her performance is bold and grounded. In this first section, we witness ideas that permeate the rest of the film.…
I think I've said this before, but films by Lav Diaz are such an experience. They are long and slow, that's the thing people get instantly. But they are more than that. Any filmmaker can keep the camera rolling until they get something amazing. Lav Diaz isn't this kind of director. It seems to me that he knows exactly what he wants from these long shots, and if he doesn't, at least he can feel when things are done. It's all about creating a mood. With "Melancholia" he gets to the bad parts of his country. WIth these characters he achieves his critique on violence, war, povertyand other socially important themes.
There is a scene where a man with a gun goes from being startled to being completely in tears and scared. It takes a while but it feels so natural. It's all about these kind of scenes. Those things are what makes Lav Diaz such a great director.
This film gets confused a lot with Lars von Trier's film of the same name. Trier's film is about another planet crashing into earth destroying all life and earth itself. I'd say that's a pretty sad and a pretty good use of the title Melancholia, although I'd say that Lav Diaz's sprawling epic is even more appropriate
Before the buzz around Norte, Diaz was still making films for years. Using a very small budget and production Diaz was able to see his vision come to life. A nearly 8-hour long epic dealing with loss, grief, and depression. Although the length is usually was gets the attention when this film is brought up I'd say that it's a complete non-issue, I…
This is a time for becoming instead of being. Cinema is the perfect buffer zone for our psychologies. Melancholia helped me resolve issues by taking me to their doorstep it's difficult to explain but confronted with the evil in me and able to step inside I felt better than I have in a while, more so than any drug or psychotherapy I understood my better self, until the ending reminding me that Melancholia isn't just a passing feeling it's embedded in the walls, and inside our country.
pretty melancholic, but von trier gets him beat three years later
On almost every concievable level, this is the cinema I have long dreamt of making. I am not Filipino nor of Filipino descent, so my connection with Melancholia cant be said to be personal on a cultural level. My world is a million miles from the world shown here. But the connection I feel is in its nature as one of the great spiritual films. Diaz takes what other slow filmmakers I like did as far back as the 60's and not only applies it to a narrative context but also applies it to Diaz's own philosophical approach and the digital revolution. Instead of the crackling of damaged film reels and running them empty like Warhol, Diaz embraces digital. He…
Farthest thing that I have seen from the accepted notion of "film" and "cinema". It moves beyond Contemplation Cinema, it ascends "Art for arts sake" -that's often associated with this type of "extreme" art-house cinema- and becomes a rebellion, aesthetically and politically. There is a point in the film where Alberta is telling Julian that she'd rather be an unknown teacher outside the system than a high status person inside it. That I believe is Diaz, speaking directly to his audience, to his "students", to us.
"My face is scattered all over the Philippines"
What first seems like a casual witty remark at a bar soon echoes back with darker undercurrents as Lav Diaz's raw and grittily-filmed epic-sized tale moves toward conclusion. It isn't just the face of one woman but of a people, a nation. The face of suffering, of longing, of sadness ― melancholia; which apart from tying in with the title and literally being the name of a central plot device, is the main emotion Diaz focuses upon in the film.
The first act begins with three characters ― a prostitute, a pimp and a nun. They go about their day-to-day lives in the small town of Sagada and keep repeatedly bumping…
Disassociation as ritual, ritual as religion, religion as capsule - grief caught in the womb of a country, thats political strife encumbers the very mortal agency of those seeking to confront their oppression. A game of escapism is tenaciously mid-round, our cast reconciling the privilege of role-reconfiguration and a coupled, purposeful self-alienation, which bares no route forward, which offers no answer to the systemic pain entrenched in themselves. Diaz, here, and not in any other work I've seen, most acutely pressurizes his temporal sphere; atmosphere a non-factor, instead supplanted for the palpability of vacancy, seconds articulating their tick through an evaporation of patience: each moment is as dire and pernicious as the last. Over seven hours, its as numbing as the faux-escapist fantasy our characters wrestle within.
In Sagada, a prostitute Alberta (Angeli Bayani), a pimp Julian (Perry Dizon) and a nun Rina (Malaya) were actually former activists who were undergoing this process of totally immersing in the lives of different personas as therapy to cope with the psychological issues they suffer as those left behind by desparecidos (victims of extra-judicial killings).
In the whole first hour, these three characters were just randomly walking around Sagada like total strangers. It was only in the second hour that we get to know their past and relationship with each other, and what they had been doing with their lives for the past five years.
In the third hour, an ill Alberta was a assisted by a helpful storekeeper (Irma…
Because of sadness, there is cinema
Perspective of anything and everything possessing sadness
Movie is NOT filmed.
This review may contain spoilers. I can handle the truth.
The beginning was simply gorgeous. A breathtaking experience through and through, one which left me with the feeling of being dragged down a great and powerful river. Not one dangerous per se, nor welcoming. But bountiful, certainly. The shots throughout 60%-70% of this are staggeringly beautiful, raw with the heart still beating out of its flesh.
And yet, and I cannot emphasize this enough - the middle just felt forced. Self centered in an indulgence that didn't sit well with me. Hate me all you want, I think every filmmaker should utterly and entirely indulge their egos and their spirits when it comes to the making of a film. And yet, very obviously Lav Diaz did exactly that with a…
This is the second Diaz movie I've watched and I spent 3 nights going through the flow.
This one was not as captivating as "From what is before". The first 3 hours were the best, most poignant and well thought out moments of the movie. After that, it fell a bit flat and felt more like an excercise in free-style: he knew what he wanted to say, but did not prepare the notes... Also, the sound and image quality were not always the best, but that did not bother me.
Anyway, definitely worth watching if you have 7h30 to spare.
Is there anyone who shoots darkness and rain better?
Tungkol ito sa hapis ng aking bayan. Ni hindi ko na magawang maging romantisista sa kabiguang ito. Kahit na ang walang kapantay na kagandahan ng pulong ito ay walang sagot sa impyernong ito. Wala akong makitang gamot sa kalungkutang ito.
Personal sorrow on top of social sorrow on top of metaphysical sorrow.
Una obra gargantuesca sobre la tristeza en el mundo. 450 minutos de personajes sumidos en una espiral de negatividad y oscuridad de la que es imposible de huir. Ahoga y aprieta. Te hunde en la miseria.
Ha sido toda una experiencia. No la volveré a ver.
I'm in tears. What a fucking film.
I have been watching a few very long films lately. After finishing Out 1 last week I decided to give Lav Diaz a try.
I found this film to be far less annoying. It felt relaxing and I didn't mind "wasting my time" on it. For me the Philippine setting is interesting since I have spent quite some time there and have many friends in that country. These friends are often skeptical to Filipino filmmaking which is often overly sentimental or just banal. This film is unusually high brow and is dealing with relevant themes that are very much about the struggles people face in the Philippines. Among these one of the biggest problems is the apathy of their own countrymen who often find any kind of struggle to be beyond their ability make a change.
I will try to watch more of Diaz films now that I am subscribing to Mubi which has several of his films.
La faceta más política y revolucionaria de Lav Díaz y al mismo tiempo la más narrativa y pornográfica, en términos de lo explícito. Entre los tiempos de la contemplación se desvelan acciones narrativas clásicas que dan el punta pie a la denuncia mientras el voyeurismo en la habitación con el espectáculo sexual incomoda por la posición de la cámara y también habla de los tiempos que viven los nativos.
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