Lav Diaz: writer/director/cinematographer/editor Diaz's work stands alone in its style of visual storytelling. Horacia's mysterious strength and conviction penetrates the overwhelming disease of humanity. After 30 year's imprisonment, freedom brings an existential burden.
THE WOMAN WHO LEFT is relatively abbreviated by Diaz standards and also feels uncommonly focused. Everything builds according to an overarching sense of structure and purpose. It would be tempting to invoke the 19th century novel if not for the fact that this is a film, no less than any other Diaz, that uses durantions like a powerful narcotic. There is much incident, however, and performances of harnessed power.
Absolutely spellbinding. Lav Diaz has honed in on his style/craft and created a film that explores timeless themes and critiques. Caught this at FICCI in Colombia and recommend everyone to see it by any means necessary.
Diaz's grayscale cinematography is pushed to the limits in this bleak, subtle thriller, manipulating darkness and light to extraordinary effect. At points, nearly the entire composition is in complete darkness, save for backlights on a nose or knee; regularly the whole frame is exposed correctly and the faces are blank. Light and shadow battle - for Diaz, in the image, for his characters, within themselves.
D'une perception beaucoup moins hypnotique que bien des œuvres précédentes du cinéaste, essentiellement à cause d'un écourtement drastique des plans, pour lui permettre de rentrer dans le créneau d'une classique distribution en salles(?), cette nouvelle réalisation qui s'appesantit plus sur les personnages et leur histoire, n'en est pas moins séduisante et souveraine dans son opiniâtre narration.