It’s rare that Lav Diaz creates a short film. His contribution to a film omnibus for the Venice Film Festival last year was, I think, his shortest film to date, followed by his eight minute film (one take only) for Imahe Nasyon, another film omnibus. His thirty minute short Prologue to the Great Desaparecido sits comfortably in this range of short films, though it is difficult to judge whether this one can be seen as a stand-alone film. The title says it all – it is merely a prologue to a feature film.
The film had been produced with the help of dissidenz films with seat in Paris, and even though dissidenz is not a mainstream company at all, the film has a feel to it that is not entirely Lav Diaz. I’m not entirely sure how to describe. I can only say that I had a similar, albeit much worse feeling with Norte, The End of History (2013). You can kind of feel that there is a Western producer involved, I don’t know. You could call me paranoid, but I really had a weird feeling watching this.
Anyway, Prologue is a rather difficult film in that it is a mere snippet of what the full-length feature will be like. Plus, it is a direct depiction of a historical event that may be totally unknown to most of the people who have seen the film so far. For all of Diaz’s films it is advisable to read a bit about the history of the Philippines. But I think that Prologue, and the coming feature film, demand a bit more knowledge about the revolution and Bonifacio’s role in it. I gathered that this film would be even less of a sit-down-and-eat-popcorn film than all the others. It’ll probably use more of your brain instead.
When I watched his most recent feature film, From What Is Before (2014), I had the impression that he began to experiment with the camera, which was no longer static and on eye-level. He used canted angles in Death in the Land of Encantos (2007), but there was one shot in From What Is Before that looks very deliberately artistic – something you hardly ever come across in his films. It’s something I always liked in a way.
Truth is, signs of experiments are visible in Prologue already. I felt that there was generally more movement, which he did experiment with before – a handheld moving camera is particularly visible in Encantos. But the most striking difference to all other films is that many shots are low angle shots. You are always looking up to something. It brought a new feeling to his films, which was awkward at first, but only because I’m very used to his usual static eye-level camera shots. Are we looking up to the Heavens? Maybe…
Prologue, overall, makes little sense on its own. Because it is only a prologue, it feels very rushed for a Lav Diaz film. It is a snippet, and this is the one thing Diaz is usually not known for. He depicts conditions in detail. In slow and very long detail. Now, this is not to say that I didn’t like Prologue because it was short. I simply find it an unfortunate project that doesn’t quite live up to what it had promised. If it had been a stand-alone short, it would have been great. But this really deserves to be extended to a full-length feature film in order to get to the bottom of history again. So I’m looking forward to the final project. I kind of wonder just how long a woman can look for her disappeared husband. Hours (on screen), I guess.