As Lav Diaz’s films have shrunk in reception, they have only grown in eclecticism and importance. A decade on from Norte: The End of…
As yet another Hong Sang-soo project makes the rounds, surely to be followed in four to six months by another, even newer film, it’s…
Master Gardener In hindsight, Paul Schrader’s career has been a repeated jettisoning and reappropriation of extraneous artiness, new off-kilter filmic shapes of inscrutable quality…
In an interview with Michael Guarneri, Lav Diaz states quite emphatically that “tragedy and suffering are an inherent part of man’s existence and death…
Diaz’s signature long-takes here work more to push the material into territory of fatalism rather than substantive political observation. Lav Diaz knows violence. The…
The Halt is another epic and epically long Lav Diaz effort, one that might be his most accessible work yet. When dealing with Lav…
We at InRO aren’t immune for fall festival fatigue, and that means we too frequently pass over small festivals that deserve the attention. This…
Another week, another festival. For this year’s BFI London Film Festival, it’s business as usual, which is to say the unusual business of 2020…
Lahi, Hayop Lav Diaz knows violence. The director’s filmography is virtually an exemplar of the temporal nexus of historical and contemporaneous representations of authoritarian…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years…
The latest film from Filipino director Lav Diaz to make it to US streaming services is the almost four-hour long, politically charged, a cappella…