Long Movie Marathon Part VIII
“the misfortune, the hardships, the pain…it never ends…it never stops. i want it to stop.”
where has not only this film, but this director been my entire life?
something tells me Lav Diaz likes Béla Tarr and his works, especially ‘Satantango’ and ‘Werckmeister Harmonies’. it’s reminiscent of Tarr’s works with the extremely long and contemplative takes, the use of monochrome colors and shades to add to the atmosphere of despair, and most apparently, the runtime and minimalistic dialogue. when there is such minimal dialogue and someone does speak, it is so much more captivating and powerful than a film chalked with meaningless conversation. a few of the ways Diaz seperates himself from Tarr though is the lack of score which makes the film much more intense and thrilling, and it also deals with spirituality, faith, and loss in much greater depth than Tarr normally would. honestly it almost reminded me of ‘Andrei Rublev’ by Tarkovsky in more ways than one.
i love when modern directors make movies in black and white; it tells me they dont care about appeasing the masses like most do these days. they are either making the film for themselves, or for a somewhat niche audience, often times both.
i had to include this, the boat scene towards the start of the film is probably one of my favorite sequences i have ever seen. i was completely entranced for its entire duration, it was so fucking gorgeous dude. the nature, the camera work, the 1000 yard stare, it was pure perfection; as was the entire movie.
this film marks the end of what is the greatest and most ambitious series i have ever done. 8 days, 7 films, over 42 hours of runtime, all while working a full time job, and i loved and savored every minute.
(also fuck the philippino government in the 70s)
Long Movie Marathon Part VIII
“the misfortune, the hardships, the pain…it never ends…it never stops. i want it to stop.”
where has not only this film, but this director been my entire life?
something tells me Lav Diaz likes Béla Tarr and his works, especially ‘Satantango’ and ‘Werckmeister Harmonies’. it’s reminiscent of Tarr’s works with the extremely long and contemplative takes, the use of monochrome colors and shades to add to the atmosphere of despair, and most apparently, the runtime and minimalistic dialogue. when there is such minimal dialogue and someone does speak, it is so much more captivating and powerful than a film chalked with meaningless conversation. a few of the ways Diaz seperates himself from Tarr though is the lack of score which makes the film much more intense and thrilling, and it also deals with spirituality, faith, and loss in much greater depth than Tarr normally would. honestly it almost reminded me of ‘Andrei Rublev’ by Tarkovsky in more ways than one.
i love when modern directors make movies in black and white; it tells me they dont care about appeasing the masses like most do these days. they are either making the film for themselves, or for a somewhat niche audience, often times both.
i had to include this, the boat scene towards the start of the film is probably one of my favorite sequences i have ever seen. i was completely entranced for its entire duration, it was so fucking gorgeous dude. the nature, the camera work, the 1000 yard stare, it was pure perfection; as was the entire movie.
this film marks the end of what is the greatest and most ambitious series i have ever done. 8 days, 7 films, over 42 hours of runtime, all while working a full time job, and i loved and savored every minute.
(also fuck the philippino government in the 70s)
