LAV DIAZ:
Вчера выложили новый номер моего любимого журнала Cinema Scope, где опубликовано упоительное интервью Жуана Педру Родригеша с Аленом Гироди (автором одного из лучших фильмов этого года), уморительная колонка Марка Перансона, где он выступает с традиционным ежегодным наездом на Каннский фестиваль (Ke-sheesh! Where to begin with this wholly overpraised, underdeveloped, and, it goes without saying, way overlong 177-minute plunge into the make-believe wonderland of filmic ridiculousness?), ну и мой текст про Лав Диаса:
In Norte’s predecessor, the subtle and beautiful Florentina Hubaldo, CTE (2012), Diaz employed voiceover, a technique he had never resorted to before (or, at least, used rarely), to articulate the eternal quandry: what is evil, and how does it arise in man? In this technique, I believe, lies an honest exposure of his method, the method of the only working filmmaker to explore such fundamental categories of the human condition as Truth, Kindness, Morality, Sin, Justice, Nation, History, and God. (All capitalized, contrary to the prevalent ironies of the 2000s). Always solemn but never turgid, Diaz juxtaposes the intellectual and the common man in Norte with peerless elegance, which has the effect of toning down what might otherwise be portentous rhetoric, and elevating his storytelling above the level of cliché. On the other hand, the very same solemnity is what clearly prevented Diaz from fitting in with this year’s Cannes line-up, riddled as it was by convention, conformism, and triviality. An endangered species, Diaz makes a point to treat cinema as a complex, multifaceted art form in which sensual, intellectual, and sacred experiences are inextricably linked.