The cinema by Filipino auteur Lav Diaz deals with the history of his home country, its politics and its society. Man of his last features, such as “The Halt” or “Season of the Devil“, have painted a rather bleak picture of Filipino politics, its history and possible future, while also giving a faint shimmer of hope which lies in the people.
His new film “Genus, Pan“, which was given the Orizzonti-Award at this year’s Venice Film Festival, focuses on the nature of man, his character traits like greed and envy, and revolves around the fate of three workers on their way home from having worked in the mines for a long time.
We talked with the director about the inspirations of the film, its score as well as the state of Filipino cinema at the moment.
“Genus, Pan” is screening at International Filmfestival Mannheim-Heidelberg
What was the inspiration for “Genus,...
His new film “Genus, Pan“, which was given the Orizzonti-Award at this year’s Venice Film Festival, focuses on the nature of man, his character traits like greed and envy, and revolves around the fate of three workers on their way home from having worked in the mines for a long time.
We talked with the director about the inspirations of the film, its score as well as the state of Filipino cinema at the moment.
“Genus, Pan” is screening at International Filmfestival Mannheim-Heidelberg
What was the inspiration for “Genus,...
- 11/18/2020
- by Rouven Linnarz
- AsianMoviePulse
It is in the nature of cinema, similar to other arts, to tackle the questions which have been discussed and re-evaluated time and time again. While the term “slow cinema” is often used to solely focus on the pace of a feature, it may also be a sign of short-sightedness, for the slowness in the works of Lav Diaz is linked to the issues he discusses, in the stories he tells, from society to politics, always with a strong human focus. His new feature “Genus, Pan” was, as the filmmaker states, inspired by an answer he gave many years ago to the question to how he would define humans and his reply that they are nothing more than animals. Considering the events of the past years, Diaz came back to the statement, thinking how the current times might have proven him right and so the idea for “Genus, Pan” was born,...
- 11/17/2020
- by Rouven Linnarz
- AsianMoviePulse
When the Waves Are Gone
Without taking a breath, Filipino auteur Lav Diaz should likely have latest feature When the Waves Are Gone ready for 2020. Diaz has been collecting funding for the noir tinged revenge thriller in the midst of premiering his last two titles, 2018’s Season of the Devil and 2019’s The Halt. His latest is produced by Bianca Balbuena and received funding from Arte France Cinema and Thailand’s Purin Pictures grant. Diaz’s infamous running times, which have been known to reach seven to nine hours, built an impressive reputation through Venice, where 2007’s Death in the Land of Encantos and 2008’s Melancholia received awards out of the Horizons sidebar.…...
Without taking a breath, Filipino auteur Lav Diaz should likely have latest feature When the Waves Are Gone ready for 2020. Diaz has been collecting funding for the noir tinged revenge thriller in the midst of premiering his last two titles, 2018’s Season of the Devil and 2019’s The Halt. His latest is produced by Bianca Balbuena and received funding from Arte France Cinema and Thailand’s Purin Pictures grant. Diaz’s infamous running times, which have been known to reach seven to nine hours, built an impressive reputation through Venice, where 2007’s Death in the Land of Encantos and 2008’s Melancholia received awards out of the Horizons sidebar.…...
- 1/2/2020
- by Nicholas Bell
- IONCINEMA.com
Lav Diaz is one of the most renowned directors from the Philippines. Born in 1958 as a son of two teachers, he started being interested in music and film early on. At the Mowelfund Film Institut he studied directing as well as film production, experimenting with various other media and disciplines such as photography and writing.
Most of the films Diaz directs are very long features, sometimes with a duration of several hours, focusing on the significance of the history of his country, its past, present and possible future. Features like “Lullaby to a Sorrowful Mystery”, “Norte, the End of History” and “The Woman Who Left” have brought Diaz to the attention of critics and audiences worldwide. For his work he has received numerous prizes, for example, the Golden Lion at Venice Film Festival or the Golden Leopard at Locarno Film Festival.
At this year’s Filmfest Hamburg, three of Diaz’s features were screened,...
Most of the films Diaz directs are very long features, sometimes with a duration of several hours, focusing on the significance of the history of his country, its past, present and possible future. Features like “Lullaby to a Sorrowful Mystery”, “Norte, the End of History” and “The Woman Who Left” have brought Diaz to the attention of critics and audiences worldwide. For his work he has received numerous prizes, for example, the Golden Lion at Venice Film Festival or the Golden Leopard at Locarno Film Festival.
At this year’s Filmfest Hamburg, three of Diaz’s features were screened,...
- 10/6/2019
- by Rouven Linnarz
- AsianMoviePulse
Viewers about to journey into the latest feature of Filipino auteur Lav Diaz should get “hold of some acid” because it “would serve you really well”. Among other pieces of advice and explanation about his latest film, a text written by Diaz was read to the waiting audience at the Director’s Fortnight at Cannes Film Festival where the film was screened later this year. Whether or not this was an ironic way to gain the audience’s attention remains to be seen, but given the film’s rather serious nature, it also foreshadows the darkness of the visions represented in “The Halt”.
“The Halt” is screening at Filmfest Hamburg 2019
In 2034, after catastrophic volcanic eruptions, large parts of South-East Asia live in constant darkness since the sun is blocked. Additionally, many people have died due to a flu pandemic called “the Dark Killer” which the government has attempted to contain.
“The Halt” is screening at Filmfest Hamburg 2019
In 2034, after catastrophic volcanic eruptions, large parts of South-East Asia live in constant darkness since the sun is blocked. Additionally, many people have died due to a flu pandemic called “the Dark Killer” which the government has attempted to contain.
- 9/27/2019
- by Rouven Linnarz
- AsianMoviePulse
Vietnamese filmmaker Pham Ngoc Lan is all set to make his feature debut with his satirical comedy-drama “Cu Li Never Cries,” which is being presented in Locarno Festival’s Open Doors program.
In the film, Lady M., a blue-collar retiree in Vietnam, returns to Berlin when she learns that her estranged German husband has died. The legacy her husband has left her is an urn with his ashes and Cu Li, his pet pygmy slow Loris (a primate found primarily in Southeast Asia). Upon returning to Vietnam, Lady M. finds that her pregnant niece Van is rushing into marriage, and fears that she will make the same life mistakes as she did. Lady M. proceeds to embark upon a journey retracing her memories, evoking Vietnam’s storied past.
Lan’s shorts have travelled the world. His 2016 short “Another City” was nominated for the Golden Bear at Berlin and has won...
In the film, Lady M., a blue-collar retiree in Vietnam, returns to Berlin when she learns that her estranged German husband has died. The legacy her husband has left her is an urn with his ashes and Cu Li, his pet pygmy slow Loris (a primate found primarily in Southeast Asia). Upon returning to Vietnam, Lady M. finds that her pregnant niece Van is rushing into marriage, and fears that she will make the same life mistakes as she did. Lady M. proceeds to embark upon a journey retracing her memories, evoking Vietnam’s storied past.
Lan’s shorts have travelled the world. His 2016 short “Another City” was nominated for the Golden Bear at Berlin and has won...
- 8/11/2019
- by Naman Ramachandran
- Variety Film + TV
With a seemingly endless amount of streaming options–not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
Goodbye First Love (Mia Hansen-Løve)
One of the best coming-of-age films of the decade, what begins as a fairly standard, but intimately captured story of young passion quickly blossoms to one of the most mature takes on such an event thanks to Mia Hansen-Løve’s remarkably natural style and a script that’s conscious of time and its effects on love. Praise must also go to Lola Creton and Sebastian Urzendowsky for seemingly organic chemistry from such material. – Jordan R.
Where to Stream: Mubi (free for 30 days)
The Man From London (Béla Tarr and Ágnes Hranitzky)
Upon the release of The Man from London, one might...
Goodbye First Love (Mia Hansen-Løve)
One of the best coming-of-age films of the decade, what begins as a fairly standard, but intimately captured story of young passion quickly blossoms to one of the most mature takes on such an event thanks to Mia Hansen-Løve’s remarkably natural style and a script that’s conscious of time and its effects on love. Praise must also go to Lola Creton and Sebastian Urzendowsky for seemingly organic chemistry from such material. – Jordan R.
Where to Stream: Mubi (free for 30 days)
The Man From London (Béla Tarr and Ágnes Hranitzky)
Upon the release of The Man from London, one might...
- 8/2/2019
- by Jordan Raup
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSDavid Cronenberg on the set of CrashThis year's Venice Film Festival will premiere a brand new 4K restoration of David Cronenberg's cult classic Crash. "Seems like only yesterday that we were shooting it," Cronenberg says. Iranian filmmaker Mohammad Rasoulof, best known for films Manuscripts Don't Burn (2013) and A Man of Integrity (2017), has been sentenced to one year in prison for "propaganda against the state," highlighting the plight of artists in Iran. Recommended VIEWINGBehold, the official trailer for Martin Scorsese's The Irishman, starring Robert De Niro, Al Pacino, and Joe Pesci. A first look at Robert Eggers' The Lighthouse, the follow-up to The Witch, which follows two men struggling for both physical and mental survival in a tower on an isolated island. Notebook's Cannes correspondent Leonardo Goi describes the film as...
- 7/31/2019
- MUBI
Lav Diaz's Season of the Devil, which is receiving an exclusive global online premiere on Mubi, is showing from July 30 – August 28, 2019 in Mubi's Luminaries series.A supremely powerful 4-hour lament for human suffering, Lav Diaz's Season of the Devil was clearly the token “hardcore” art-house movie in the competition section of the Berlin International Film Festival, where it premiered. But the Filipino director's reputation for difficulty—very long movies, long scenes done in long takes—is a misnomer: the challenge of Lav’s films aren’t their length, which can be relaxed into, or their languor, which allows for both inattention and contemplation. The challenge they raise are for a Philippine history unrecorded and perhaps even unwritten in the official records. It is a challenge to the once-seen but now-unsaid—and a challenge to those in power. Season of the Devil states: “This happened, look at it, experience it...
- 7/30/2019
- MUBI
With the year coming to its halfway mark, we recently rounded up the 21 most essential films to seek out thus far, and now it’s time to look towards the second half. July brings some festival favorites, some oddities, a few studio release highlights, and a floral fever dream. Check out our 15 picks to see below, followed by honorable mentions.
15. A Faithful Man (Louis Garrel; July 19)
Fluffier than the finest French pastries, Garrel’s latest film is a brisk romantic dramedy to the point of near-satire, which is more of a recommendation than a jab. Ethan Vestby was a fan at Tiff, saying in his review, “Beginning on a shot of the Paris cityscape–yes, the Eiffel Tower plainly in view and everything that surrounds it–Louis Garrel’s A Faithful Man self-awarely announces itself in the tradition of decades of French cinema; say the kind that the average movie-goer...
15. A Faithful Man (Louis Garrel; July 19)
Fluffier than the finest French pastries, Garrel’s latest film is a brisk romantic dramedy to the point of near-satire, which is more of a recommendation than a jab. Ethan Vestby was a fan at Tiff, saying in his review, “Beginning on a shot of the Paris cityscape–yes, the Eiffel Tower plainly in view and everything that surrounds it–Louis Garrel’s A Faithful Man self-awarely announces itself in the tradition of decades of French cinema; say the kind that the average movie-goer...
- 7/1/2019
- by Jordan Raup
- The Film Stage
“These are my friends. And this is a tribute and a memoriam to them.”
The cinema of Filipino director Lav Diaz has always been about time, its essence as well as its way to define people and their surroundings. Considering the average length of one of his films varying between four to ten hours, Diaz has repeatedly abandoned what is commonly known as mainstream cinema and popular conceptions of what cinema is. For authors such as Sascha Westphal, for example, Diaz is a director in the same tradition as Andrei Tarkovsky or Béla Tarr, but then again, even the attempt of categorizing films like “Norte – The End of History” (2013) or “The Lullaby to the Sorrowful Mystery” (2016) with the label “slow cinema” does not really fit with the kind of work Diaz has delivered throughout his career.
“Season of the Devil ” is screening at the 27th Art Film Fest Kosice
In a nutshell,...
The cinema of Filipino director Lav Diaz has always been about time, its essence as well as its way to define people and their surroundings. Considering the average length of one of his films varying between four to ten hours, Diaz has repeatedly abandoned what is commonly known as mainstream cinema and popular conceptions of what cinema is. For authors such as Sascha Westphal, for example, Diaz is a director in the same tradition as Andrei Tarkovsky or Béla Tarr, but then again, even the attempt of categorizing films like “Norte – The End of History” (2013) or “The Lullaby to the Sorrowful Mystery” (2016) with the label “slow cinema” does not really fit with the kind of work Diaz has delivered throughout his career.
“Season of the Devil ” is screening at the 27th Art Film Fest Kosice
In a nutshell,...
- 6/16/2019
- by Rouven Linnarz
- AsianMoviePulse
The Notebook is covering Cannes with an on-going correspondence between critic Leonardo Goi and editor Daniel Kasman.The HaltDear Leo,My last dispatch was focused on excess, confessions, and the vulgar. My final letter from Cannes will be devoted to political filmmaking. For Filipino director Lav Diaz there is no such thing as “political filmmaking,” for filmmaking is an inherently political act. This has always been true of his movies but has reached a greatly more heightened and indeed possibly perilous degree as his country has fallen under the blood-stained and repressive leadership of Rodrigo Duterte. Diaz’s last few movies have addressed this painful and dangerous new era indirectly: A Lullaby to the Sorrowful Mystery is set in the time of the Philippine revolution in order to explore where the hopes for the country after colonialism could have gone, and his last, the musical Season of the Devil, is...
- 5/27/2019
- MUBI
What an incredible year for cinema. What an incredible year, particularly, for Asian cinema. Obviously, the world’s most populous continent and biggest emerging film market contributes abundantly to the cinematic arts every year, but in 2018, the variety and vibrancy of output from the still underrepresented- and -appreciated region (at least in terms of inclusion at A-list festivals or global visibility) really stood out.
The Hong Sangsoo fan club probably got a little more crowded thanks to the award-winning Hotel by the River, but it’s the crazy prolific Korean auteur’s first outing this year, the compact, richly layered Grass that most reminded me of his unique touch. Another Berlinale premiere, the 4-hour political document/musical Season of the Devil, probably cost Lav Diaz some fans, but, as always, there’s something singularly, almost perversely rewarding about making it through the work of Philippine’s guru of slow cinema.
The Hong Sangsoo fan club probably got a little more crowded thanks to the award-winning Hotel by the River, but it’s the crazy prolific Korean auteur’s first outing this year, the compact, richly layered Grass that most reminded me of his unique touch. Another Berlinale premiere, the 4-hour political document/musical Season of the Devil, probably cost Lav Diaz some fans, but, as always, there’s something singularly, almost perversely rewarding about making it through the work of Philippine’s guru of slow cinema.
- 12/30/2018
- by Zhuo-Ning Su
- The Film Stage
“These are my friends. And this is a tribute and a memoriam to them.”
The cinema of Filipino director Lav Diaz has always been about time, its essence as well as its way to define people and their surroundings. Considering the average length of one of his films varying between four to ten hours, Diaz has repeatedly abandoned what is commonly known as mainstream cinema and popular conceptions of what cinema is. For authors such as Sascha Westphal, for example, Diaz is a director in the same tradition as Andrei Tarkovsky or Béla Tarr, but then again, even the attempt of categorizing films like “Norte – The End of History” (2013) or “The Lullaby to the Sorrowful Mystery” (2016) with the label “slow cinema” does not really fit with the kind of work Diaz has delivered throughout his career.
In a nutshell, “slow cinema” is most likely associated with a film’s running time,...
The cinema of Filipino director Lav Diaz has always been about time, its essence as well as its way to define people and their surroundings. Considering the average length of one of his films varying between four to ten hours, Diaz has repeatedly abandoned what is commonly known as mainstream cinema and popular conceptions of what cinema is. For authors such as Sascha Westphal, for example, Diaz is a director in the same tradition as Andrei Tarkovsky or Béla Tarr, but then again, even the attempt of categorizing films like “Norte – The End of History” (2013) or “The Lullaby to the Sorrowful Mystery” (2016) with the label “slow cinema” does not really fit with the kind of work Diaz has delivered throughout his career.
In a nutshell, “slow cinema” is most likely associated with a film’s running time,...
- 11/25/2018
- by Rouven Linnarz
- AsianMoviePulse
Three filmmakers explained how they’re using music to deliver political messages and explore their countries’ complex histories.
Three Southeast Asian filmmakers discussed how they’re using different forms of music – from Indonesia’s Krongcong genre to hip-hop – to deliver political messages and explore their countries’ complex histories, in a session on Tiff’s Crosscut Asia section on Friday.
Treb Monteras II described how he used rap to talk about the Philippines’ martial law era and the current war on drugs in his recent festival hit Respeto. “The film is really about the unending cycle of violence in the Philippines...
Three Southeast Asian filmmakers discussed how they’re using different forms of music – from Indonesia’s Krongcong genre to hip-hop – to deliver political messages and explore their countries’ complex histories, in a session on Tiff’s Crosscut Asia section on Friday.
Treb Monteras II described how he used rap to talk about the Philippines’ martial law era and the current war on drugs in his recent festival hit Respeto. “The film is really about the unending cycle of violence in the Philippines...
- 10/27/2018
- by Liz Shackleton
- ScreenDaily
Highlights include Filipino auteur Lav Diaz’ rock opera Season Of The Devil, which premiered at Berlin.
The Crosscut Asia section of this year’s Tokyo International Film Festival (Tiff) will focus on Southeast Asian films featuring a wide variety of musical genres.
Highlights of the line-up, designed to reflect on historical and present-day Southeast Asia, include Filipino auteur Lav Diaz’ rock opera Season Of The Devil, which premiered in competition at this year’s Berlin film festival.
Dubbed Crosscut Asia #05: Soundtrip to Southeast Asia, the showcase will also include films featuring Isan band music from Thailand and Cambodian pop songs.
The Crosscut Asia section of this year’s Tokyo International Film Festival (Tiff) will focus on Southeast Asian films featuring a wide variety of musical genres.
Highlights of the line-up, designed to reflect on historical and present-day Southeast Asia, include Filipino auteur Lav Diaz’ rock opera Season Of The Devil, which premiered in competition at this year’s Berlin film festival.
Dubbed Crosscut Asia #05: Soundtrip to Southeast Asia, the showcase will also include films featuring Isan band music from Thailand and Cambodian pop songs.
- 7/19/2018
- by Liz Shackleton
- ScreenDaily
“These are my friends. And this is a tribute and a memoriam to them.”
The cinema of Filipino director Lav Diaz has always been about time, its essence as well as its way to define people and their surroundings. Considering the average length of one of his films varying between four to ten hours, Diaz has repeatedly abandoned what is commonly known as mainstream cinema and popular conceptions of what cinema is. For authors such as Sascha Westphal, for example, Diaz is a director in the same tradition as Andrei Tarkovsky or Béla Tarr, but then again, even the attempt of categorizing films like “Norte – The End of History” (2013) or “The Lullaby to the Sorrowful Mystery” (2016) with the label “slow cinema” does not really fit with the kind of work Diaz has delivered throughout his career.
In a nutshell, “slow cinema” is most likely associated with a film’s running time,...
The cinema of Filipino director Lav Diaz has always been about time, its essence as well as its way to define people and their surroundings. Considering the average length of one of his films varying between four to ten hours, Diaz has repeatedly abandoned what is commonly known as mainstream cinema and popular conceptions of what cinema is. For authors such as Sascha Westphal, for example, Diaz is a director in the same tradition as Andrei Tarkovsky or Béla Tarr, but then again, even the attempt of categorizing films like “Norte – The End of History” (2013) or “The Lullaby to the Sorrowful Mystery” (2016) with the label “slow cinema” does not really fit with the kind of work Diaz has delivered throughout his career.
In a nutshell, “slow cinema” is most likely associated with a film’s running time,...
- 5/24/2018
- by Rouven Linnarz
- AsianMoviePulse
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThis year the Directors' Fortnight (Quinzaine des réalisateurs) in Cannes is celebrating its 50th anniversery. The poster for this year's festival uses a photo by William Klein, whose film The Pan-African Festival of Algiers was in the 1971 edition.Recommended VIEWINGThe trailer for Paul Schrader's fabulous new film First Reformed. Our critics raved about it (here and here) last year from the Toronto International Film Festival.Recommended READINGThe last interview Hollywood filmmaker Nicolas Ray (Johnny Guitar) recorded was in 1979 with Sarah Fatima Parsons and Kathryn Bigelow. The Italian film magazine La Furia Umana has the full text in English.With last week's release of Ready Player One getting all fans of Steven Spielberg in a tizzy, the A.V. Club has run a compendium of the best set pieces of the director's career.The Courtisane...
- 4/4/2018
- MUBI
Below you will find our favorite films of the 68th Berlin International Film Festival, as well as an index of our coverage.AwardsTOP Pickstop 10(1) Transit (Christian Petzold)(2) Infinite Football (Corneliu Porumboiu)(3) An Elephant Sitting Still (Hu Bo)(4) The Waldheim Waltz (Ruth Beckermann)(5) Season of the Devil (Lav Diaz)(6) In the Realm of Perfection (Julian Faraut)(7) Classical Period (Ted Fendt)(8) Notes on an Appearance (Ricky D'Ambrose)(9) Inland Sea (Kazuhiro Soda) & Unsane (Steven Soderbergh)(Contributors: Annabel Ivy Brady-Brown, Giovanni Marchini Camia, Celluloid Liberation Front, Adam Cook, David Hudson, Jordan Cronk, Daniel Kasman, Olaf Möller, Michael Pattison, Richard Porton, Christopher Small, Barbara Wurm)Daniel Kasman(1) Season of the Devil (2) The Waldheim Waltz (3) Grass (4) Jamila (5) Foreboding (6) Transit (7) An Elephant Sitting Still (8) Infinite Football (9) In the Realm of Perfection (10) Inland SeaADAM Cook(1) Infinite Football (2) The Tree (3) Season of the Devil (4) Transit (5) Grass (6) In the Realm of Perfection (7) Optimism (8) Isle of Dogs (9) The Waldheim Waltz (10) L.
- 3/6/2018
- MUBI
The latest film from Norte, The End of History director Lav Diaz, takes us into the heart of darkness, but at four hours it’s a frustrating experience
There can hardly be a deeper, darker vale of tears at this year’s Berlin film festival than Season of the Devil, the stylised yet starkly austere, four-hour film in black and white from Filipino director Lav Diaz, about the brutal period of martial law imposed on his country by President Marcos in the 1970s. I have had mixed responses to Diaz’s films recently: I admired the grandeur and mystery of his “Russian adaptations”, that is, his The Woman Who Left (2016), a version of Tolstoy’s story God Sees the Truth, But Waits; and Norte, The End of History (2013), a loose reworking of Dostoyevsky’s Crime and Punishment. Sometimes however, the sheer opacity and impenetrability of his film-making, and of course...
There can hardly be a deeper, darker vale of tears at this year’s Berlin film festival than Season of the Devil, the stylised yet starkly austere, four-hour film in black and white from Filipino director Lav Diaz, about the brutal period of martial law imposed on his country by President Marcos in the 1970s. I have had mixed responses to Diaz’s films recently: I admired the grandeur and mystery of his “Russian adaptations”, that is, his The Woman Who Left (2016), a version of Tolstoy’s story God Sees the Truth, But Waits; and Norte, The End of History (2013), a loose reworking of Dostoyevsky’s Crime and Punishment. Sometimes however, the sheer opacity and impenetrability of his film-making, and of course...
- 2/22/2018
- by Peter Bradshaw
- The Guardian - Film News
New films from Gus Van Sant, Mani Haghighi also receive scores.
Lav Diaz’s 234-minute black-and-white historical drama Season Of The Devil has dropped on the Screen International Berlin Jury Grid, along with Gus Van Sant’s Don’t Worry, He Won’t Get Far On Foot starring Joaquin Phoenix and Mani Haghighi’s comedy of a blacklisted film director, Pig.
Season Of The Devil has split opinion of our jurors, with scores of 4 (excellent) from Frankfurter Allgemeine’s Verena Lueken and Die Zeit’s Katja Nicodemus, but a 1 (poor) from Sight & Sound’s Nick James. Read the Screen review here.
Don’t Worry, He Won’t Get Far On Foot takes an average of 2.1, although 3 (good) is the mode.
Pig has mid-to-lower range scores, a mixture of 1s, 2s and a 3 from Katja Nicodemus, for an average of 1.8.
The next titles will be Philip Gröning’s My Brother’s Name Is Robert And He Is An Idiot...
Lav Diaz’s 234-minute black-and-white historical drama Season Of The Devil has dropped on the Screen International Berlin Jury Grid, along with Gus Van Sant’s Don’t Worry, He Won’t Get Far On Foot starring Joaquin Phoenix and Mani Haghighi’s comedy of a blacklisted film director, Pig.
Season Of The Devil has split opinion of our jurors, with scores of 4 (excellent) from Frankfurter Allgemeine’s Verena Lueken and Die Zeit’s Katja Nicodemus, but a 1 (poor) from Sight & Sound’s Nick James. Read the Screen review here.
Don’t Worry, He Won’t Get Far On Foot takes an average of 2.1, although 3 (good) is the mode.
Pig has mid-to-lower range scores, a mixture of 1s, 2s and a 3 from Katja Nicodemus, for an average of 1.8.
The next titles will be Philip Gröning’s My Brother’s Name Is Robert And He Is An Idiot...
- 2/21/2018
- by Ben Dalton
- ScreenDaily
New films from Gus Van Sant & Mani Haghighi also receive scores
Lav Diaz’s 234-minute black-and-white historical drama Season Of The Devil has dropped on the Screen International Berlin Jury Grid, along with Gus Van Sant’s Don’t Worry, He Won’t Get Far On Foot starring Joaquin Phoenix and Mani Haghighi’s comedy of a blacklisted film director, Pig.
Season Of The Devil has split opinion of our jurors, with scores of 4 (excellent) from Frankfurter Allgemeine’s Verena Lueken and Die Zeit’s Katja Nicodemus, but a 1 (poor) from Sight & Sound’s Nick James. Read the Screen review here.
Don’t Worry, He Won’t Get Far On Foot takes an average of 2.1, although 3 (good) is the mode.
Pig has mid-to-lower range scores, a mixture of 1s, 2s and a 3 from Katja Nicodemus, for an average of 1.8.
The next titles will be Philip Gröning’s My Brother’s Name Is Robert And He Is An Idiot...
Lav Diaz’s 234-minute black-and-white historical drama Season Of The Devil has dropped on the Screen International Berlin Jury Grid, along with Gus Van Sant’s Don’t Worry, He Won’t Get Far On Foot starring Joaquin Phoenix and Mani Haghighi’s comedy of a blacklisted film director, Pig.
Season Of The Devil has split opinion of our jurors, with scores of 4 (excellent) from Frankfurter Allgemeine’s Verena Lueken and Die Zeit’s Katja Nicodemus, but a 1 (poor) from Sight & Sound’s Nick James. Read the Screen review here.
Don’t Worry, He Won’t Get Far On Foot takes an average of 2.1, although 3 (good) is the mode.
Pig has mid-to-lower range scores, a mixture of 1s, 2s and a 3 from Katja Nicodemus, for an average of 1.8.
The next titles will be Philip Gröning’s My Brother’s Name Is Robert And He Is An Idiot...
- 2/21/2018
- by Ben Dalton
- ScreenDaily
Isle Of Dogs reigns with a score of 3.3.
Following their Berlinale Competition premieres, Emily Atef’s 3 Days In Quiberon and Erik Poppe’s U – July 22 are the latest titles to register scores on Screen’s Berlin Jury Grid.
Reviewed here, 3 Days In Quiberon achieves middling scores that average at 2.0, with a 3 (good) from The Telegraph’s Tim Robey but 1 (poor) from Meduza’s Anton Dolin and Katja Nicodemus of Die Zeit.
Erik Poppe’s U – July 22, a fictionalised portrayal of the 2011 Utoya attack reviewed here, achieved top scores of 4 (excellent) from both Dagens Nyheter’s Nicholas Wennö and Screen’s own critic, contributing to an average of 2.9, the 3rd highest score so far.
Coming up next are Lav Diaz’s latest Season Of The Devil, and Gus Van Sant’s Don’t Worry, He Won’t Get Far On Foot starring Joaquin Phoenix.
Following their Berlinale Competition premieres, Emily Atef’s 3 Days In Quiberon and Erik Poppe’s U – July 22 are the latest titles to register scores on Screen’s Berlin Jury Grid.
Reviewed here, 3 Days In Quiberon achieves middling scores that average at 2.0, with a 3 (good) from The Telegraph’s Tim Robey but 1 (poor) from Meduza’s Anton Dolin and Katja Nicodemus of Die Zeit.
Erik Poppe’s U – July 22, a fictionalised portrayal of the 2011 Utoya attack reviewed here, achieved top scores of 4 (excellent) from both Dagens Nyheter’s Nicholas Wennö and Screen’s own critic, contributing to an average of 2.9, the 3rd highest score so far.
Coming up next are Lav Diaz’s latest Season Of The Devil, and Gus Van Sant’s Don’t Worry, He Won’t Get Far On Foot starring Joaquin Phoenix.
- 2/20/2018
- by Ben Dalton
- ScreenDaily
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