80 minutes of Diaz seems so minimal, like a trailer! If you have not been able to take the plunge and watch one of Lav Diaz's 5 or 10 hour films, this Lav's for you. But it would have been more effective if we had sat with the prostitute in the street for hours as she fails to attract a customer, not just 20 minutes.
20 MIN on a hooker without client + 20 MIN on a guitarist without talent + 20 MIN on a Trevi fountain without EKBERG + 20 MIN on a gangster without money = 80 MIN of endless shots without inspiration. === 20 MIN sur 1 tapineuse sans client + 20 MIN sur 1 guitariste sans talent + 20 MIN sur 1 fontaine de Trevi sans EKBERG + 20 MIN sur 1 gangster sans argent = 80 MIN de plans sans fin & sans inspiration.
Sooo BORING !!
If 80 minutes seems brief for Diaz, consider that it was supposed to be a 1-minute short... Meticulously constructed as a classic tripartite elegy, disrupted. Time out of order. Not flowing past, and gone, but - in a play on "revolution" - recurrent. (Crouching in the) current. In the city. In dreams (which the visitor implores us to hold on to). Space and being as time made visible. To make sense of the senseless.
A short film for Lav Diaz, but one that still feels familiar for audiences who know his work. The moving water and static camerawork recall the cinema of attractions tradition, something you'll also find in the director's longer endeavors. I always feel this incredible mix of mystery and intimacy when Diaz transports me to his beloved Philippines.
Another meditation. At eighty minutes, ELEGY would count as a short film from Diaz; a tiny package of vignettes. If not for the title (which is slightly vague) and access to a plot synopsis, it would be exceedingly difficult to place the action here in terms of the context of the titular visitor, who is a figure transported from the past. Indeed, this is slow cinema processed through the eyes of even slower times.
80 minutes, still Lav Diaz. There is humidly harsh reality in Phillipines with insomniac nights, signs of begrimed violences & sounds of a guitar (played by Diaz himself) like a wolf's howling. Diaz makes this into the mysterious mood by tranquilly powerful presence of Hazel Orencio & zen-like long take which the more continues, the deeper a world is divided into suffocating reality & intimate illusion. Impressive.