According to the criteria of Filipino and operating time, LAV DIAZ, the last OPUS “Magellan”, qualifies as a real movie. A wide -scale autobiography globally, under the title of an international star in Jail Garcia Bernal, it is the first Diaz feature since his outbreak of 2013 “Norte, the end of history” that is portrayed in color, one of its arms in the Philippine, and one of them. “Accessable” is a relative term when it comes to this expansion and asceticism at the same time, but this is the closest.
This means that while “Precs Best Shot of Dias in General Arthouse distribution at some point, it is not a technical compromise. The slow spirit of cinema is alive and reasonable in this amazingly installed work, which faces any viewers who hope to obtain a comprehensive CV with an explicit perspective after colonialism, and dismantling any romantic legend that abandons Portuguese navigators. As a panorama of the damage caused by the era of discovery, as the conquest of culture was another catastrophe, it is realistic and skilled-although it played in the unlocked side ribbon at the Cannes Festival, it was appropriate that the competition pavement was suitable for this and large transportation.
The cultural viewpoint of the film and the colonial sympathy is created in an editorial scene on the historic state of Malaga in 1504, a few years before the Portuguese seizure-a task in which the young Ferdinand Magelan was a member of the crew. In a landscape that is not transmitted to the ginning land and the intense tropical plants of the wind (presented on the screen with calm, Malikian), naked original research in a river before it freezes in an unfamiliar scene of a white man, and screaming a warning to her face. Aden was invaded. Soon we are cut into paintings that are still scary from the original bodies full of landscapes that were one day, which are seen either from a respectable distance or the separation of those who killed them.
The “Magellan” tends to show postmodern battles instead of its amazing legislation may be a budget restriction, but it serves the film resistance to any dynamic or great display of colonists. Since Magellan, the reserved Bernal gets significantly, gets a few close associates, most of them in a wide shot from Diaz and his participation in the photographer ARTUR TORT-is a regular collaborator with Albert Serra, who has a feverish austerity, the austerity around him, or, is a cinematic maker, in the micro-stroke that precedes it, which precedes it, which precedes it, which precedes it, which precedes it, which precedes it, which precedes it. Or naturally believe it.
From this ugly preliminary victory, the film continues to film the remaining 15 years in the most famous Magelan profession, although Diaz does not attach greatly to historical dates and details. The bracket of the subject life is evoked through my mood, with some scenes and settings that were repeated to the impact of despair differently, from the views of the implicit transformation. Diaz’s scenario sets Magelan against the integrated story on an equal footing between Enrique (Amadou Arajay Babon), a slave who bought by the explorer, turned into his right-western leg-his identity and his soul left even after he got his freedom.
Returning to Lisbon, Magellan meets and married Batjez (Angela Azifido), although she has largely left to wait and melt while her husband remains loyal above all on the waves. Diaz conceives her poetic and other widows of colonialism as the stricken tattooing, which wears black on the beach, and the victims in their own way in Yin are their husbands to discover and customize them. The film’s central piece depicts a three-year cruise, to the Malay Archipelago, during which Maglalan is the leader of Sadi, Muhwous-which leads a particularly cruel campaign from the conquest and the Christian shift in the Philippines, where Raja Humabon (Ronnie Lazaro) wanders, which is a phrase
The luxurious beauty of the “Magellan” photo industry-with Diaz and Tort works in deep colors of the hunter from the green hunter, the stormy blue clay and humidity-does not calm the visceral horror when it often reveals in the continuous movie patience, with the works of brutal work well against the sense of pictures otherwise. There is no music, either, to reduce or procedures for Ennoble, only an indifferent blow to weather on the amazing debris of human conflict, or slow shouting from Galleon on water bites where sailors are harshly sent to their death. In this calm removal, the legend of Maglalan Maglalan lasts, the earth and the navy bears more than human attempts to claim it.