With his latest feature Genus Pan, the king of slow cinema Lav Diaz proves that even his fleet-footed efforts can be an unrelenting experience. Clocking in at a smooth 157 minutes, this blistering allegory takes place almost entirely on the ghostly terrain of Hugaw Island. The poverty-stricken Filipino enclave is populated with superstitious citizens who often confront the misery and unfairness of modern life by embracing legends and mythologies of old.
A purposefully bleak exploration of moral rot, Genus Pan‘s stark black-and-white photography amplifies the contrasting shades between shifting natural light and our own self-destructive impulses. It feels stylistically connected to some of Diaz’s recent epics Norte, the End of History and The Woman Who Left specifically, but is far angrier in tone, presenting in potent detail the small acts of jealousy and greed that eventually lead to violence.
Much of the film’s scathing historical subtext gets referenced...
A purposefully bleak exploration of moral rot, Genus Pan‘s stark black-and-white photography amplifies the contrasting shades between shifting natural light and our own self-destructive impulses. It feels stylistically connected to some of Diaz’s recent epics Norte, the End of History and The Woman Who Left specifically, but is far angrier in tone, presenting in potent detail the small acts of jealousy and greed that eventually lead to violence.
Much of the film’s scathing historical subtext gets referenced...
- 10/24/2020
- by Glenn Heath Jr.
- The Film Stage
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