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  1. Sep 13, 2022 · Crime journalism, and the “police beat”, specifically, with its most important supporting character being a young photojournalist covering the endless narco-wars of his country, the Philippines, at great risk to his life. Diaz was in a very relaxed mood as we spoke to him last week about his out-of-competition Venice Film Festival feature.

  2. LAV DIAZ Philippines, 2012. The Filipino master of slow cinema intertwines a story of impoverished treasure hunters with the tale of a drifting woman coming to terms with a damaged mind and body. Extraordinary handheld camerawork captures the minutest of details, bringing the struggles of life into stark reality. WATCH.

  3. Jul 19, 2023 · Lav Diaz Talks ‘Psycho’ Duterte, Marcos and Upcoming ‘Essential Truths of the Lake:’ ‘I Am Aware of the Danger’. Lav Diaz is “concerned” about the situation in his native ...

  4. Sine ni Lav Diaz - A Long Take on the Filipino Auteur; The first book-length study of the Filipino auteur Lav Diaz, this edited volume offers a nuanced overview of the filmmaker, his corpus, career and traditions from various perspectives for film enthusiasts, researchers and general readers alike. 17 b/w illus.

  5. Lav DIAZ (1958, Philippines) has been labelled “the ideological father of the New Philippine Cinema” by the Venice Film Festival. His breakthrough came with the five-hour feature Batang West Side (2002), which won prizes at the film festivals of Brussels and Singapore. Since his 630-minute-long Evolution of a Filipino Family (2004), many of Diaz’s films […]

  6. Jul 27, 2023 · 9 years after Golden Leopard win, Lav Diaz returns to Locarno with ‘Essential Truths of the Lake’. According to Diaz, the film tells the story of 'the conflicted Lt. Hermes Papauran, arguably ...

  7. When the Waves Are Gone (2022).. Over the span of almost two decades, Lav Diaz has established himself not only as one of the most prolific filmmakers working in the realm of arthouse cinema—being perhaps the most acclaimed adherent of the slow expression (“It’s just fucking cinema, man”)—but also as a consistent observer of the political landscape of the Philippines.

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