Teaser Trailer zu The Woman Who Left von Lav Diaz
2016 ist ein gutes Jahr – zumindest, wenn man die Veröffentlichung des nächsten Lav Diaz-Films nicht abwarten kann. Zuerst feierte sein achtstündiges Opus A Lullaby to the Sorrowful Mystery (OT: Hele sa hiwagang hapis) Anfang des Jahres seine Premiere auf der Berlinale, vor ein paar Monaten wurden dann bereits sein nächstes Werk veröffentlicht, der halbstündige Kurzfilm The Day Before the End (OT: Ang araw bago ang wakas). Doch damit nicht genug: Mit The Woman Who Left (OT: Ang babaeng humayo) steht schon das nächste Werk des philippinischen Regisseurs in den Startlöchern. Einen ersten Eindruck verleiht der fragmentarische Teaser-Trailer. Dieses Mal erwartet uns drei Stunden und 46 Minuten. (via)
A spiritual brother of the late, great Taiwanese filmmaker Edward Yang, Lav Diaz has dissected Filipino history with exhaustive and clinical precision, unearthing the currents that have shaped the country today. With his new film The Woman Who Left, Diaz offers an incisive study of the distance between rich and poor, past and present in this tale of a woman who has spent nearly half her life in a form of suspended animation.
Released in 1997 after spending 30 years in prison, Horacia (Charo Santos-Concio) encounters a very alien world: her husband has passed away and though she has reconnected with her daughter, she cannot find her son. But she soon recognizes what hasn’t changed: the power and privilege of the elites — a fact that is brought painfully home when she realizes that her aristocratic former lover, Rodrigo Trinidad, set her up for the crime for which she was imprisoned. Ironically, he is now something of a prisoner himself, though his cage is considerably more gilded: like his other rich friends, he is housebound due to a recent rash of kidnappings targeting the wealthy. While they are entirely irrelevant to Horacia and those she befriends, for the ruling class the kidnapping incidents represent the greatest crisis in the country’s history. Horacia takes advantage of this hysteria as she begins to plot her revenge.
Working as usual with a wide canvas, Diaz captures in even the smallest gestures the embedded histories of institutional privilege, complicity, and arrogance that have contributed to the vast disparities in present-day Filipino society. (One scene demonstrates the long collusion of the aristocracy and the Catholic clergy when Rodrigo discusses his sins with a priest who doesn’t even flinch before effectively absolving him.)
Fusing clarity with quiet rage and a masterly command of cinematic storytelling, The Woman Who Left is one of Diaz’s most moving and compassionate works to date.
The Woman Who Left © Sine Olivia Pilipinas