by Heinrich Domingo

Like a prophet who first gained recognition in a foreign land, Lav Diaz comes back to the Philippines with the highly-coveted Locarno’s Golden Leopard. In the international scene, his work was praised, his style applauded, and his narrative explored. Diaz’ films were treated as transcendent over those of the Western style. His work was not governed by theories and structures. But, as he presents this gleaming token to the Filipino audience, he was faced with an indifferent crowd that reeks of the West.

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