NORTE, HANGGANAN NG KASAYSAYAN/Norte, the end of history
250 min, Philippines, 2013
Kayan Productions, Wacky O Productions
Distributed by The Cinema Guild (US), New Wave Films (UK)
Directed by Lav Diaz
Written by Lav Diaz, Rody Vera
Stars Sid Lucero, Angeli Bayani, Archie Alemania with Angelina Kanapi. Soliman Cruz, Hazel Orencio, Mae Paner
To fully appreciate a Lav Diaz film, in this case NORTE, HANGGANAN NG KASAYSAYAN, and especially in this particular film, one has to know his nation’s history, understand his politics.
Hence, to see this work through the prism of a Dostoyevsky novel, although appropriate but convenient, may not suffice considering how the film chooses to both reveal and obscure certain aspects of history it purports to explore, at the same time presents an expansive terrain of people and events, both vital and incidental, depicting in startling detail a landscape of devastation wrought by a long history of neglect and plunder.
Sid Lucero as Fabian, the murderer in a photo still of NORTE
In a film that follows parallel stories of the murderer – a student of law (and history, as well) that is an uncanny allusion to a young Ferdinand Marcos, who was himself a student of law when indicted for murder of a political rival in his native Ilocos Norte, where the film is also set – and the aggrieved family of a poor laborer who was wrongly convicted of the said murders, it is both very important to recognize NORTE as part of Diaz’s continuing discourse on the Marcoses’ martial law regime, considered as the darkest period in the nation’s contemporary history, and also mark it as a film that is at a certain juncture of a career trajectory that saw a pursuit of a distinct film aesthetic not seen in Philippine cinema – long, contemplative with minimum of mediation, diegetic sound and music, among its salient attributes – a cinematic style that sadly, has alienated a mass audience and a few serious film viewers, used to popular, commercial movies.
Angeli Bayani as the wife, Eliza, walks the parched earth with her two children
in a photo still of NORTE
Archie Alemania as Joaquin, being whisked away from his worksite, wrongly convicted for murder
in a photo still of NORTE
Because finally, NORTE, if based on the acclaim it has so far received not only in foreign film festivals but also locally, via limited theatrical screenings, either by choice or by circumstances of its production and distribution - the film, in contrast to his previous long works, is now less static, given to more lively exchange of dialogue - may point to a particular moment when a Lav Diaz film can slowly find its way to a mass audience consciousness, hence the possibility of his past works getting their larger, rightful audience is better, a time of urgency when the threat of history being revised constantly by the very evil that has made his films so vital – the return of the Marcoses to power, for one – then, it is not for naught.
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NORTE premiered at the Cannes Film Festival Un Certain Regard section to unanimous acclaim, eventually selected as one of the ten world's best films for the year 2013 by at least two influential film magazines, Film Comment in New York and Sight and Sound in the UK.
NORTE was recently selected as Best Film by the Manunuri ng Pelikulang Pilipino, the Filipino film critics group with three other awards including Best Screenplay for Lav Diaz and Rody Vera.
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SINE! says:
XO (crossover appeal): **
A+ (arthouse potential): ****
C> (cult film fav): *
H! (hometown prime): **
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Given that the story idea for NORTE came from someone else, how did you proceed to start writing the script? In this case, what was the idea/concept given to you and how did you fashion the final story?
The initial story came from the former producer of the film. She wanted a movie based on the story of this prisoner who kept waiting and waiting for his wife to visit him, making one parol each Christmas for seven years. He was about to lose hope when suddenly, his wife arrived from the province and told him that for so long she hadn't had the chance nor the means to come to Muntinlupa to visit him. She went home with all the seven parols her husband gave her. That story was featured (daw) in one of the tv magazine docus (can't remember na.)
When Moira, Michiko and I sat down to brainstorm on the given story concept, I felt it only offered one path-- and that path was toward a tearjerker story. Parang dapat may iba pang layers. so I suggested Dostoevsky's Crime and Punishment. Why not juxtapose this with the story of the prisoner-- it may be a more interesting story of guilt and innocence, freedom and imprisonment. Para sa akin, it became more of juxtaposing Raskolnikov and the Book of Job. when Lav read the story pitch-- he related the Joaquin story to that of Leo Tolstoy's short story "God Sees the Truth But Waits", which may be more apt para Russian Lit na talaga ang mga peg.
When I wrote the script, lalong lumaki ang role ni Elisa. For me this became a sort of triangle where Elisa becomes some sort of fulcrum to this meditative portraits of "good" and "evil". IN the original script, Fabian stalks Elisa and, wanting to atone for his "sin" against Joaquin and his family, hires her. (IN the original kasi she was a labandera, which for me was more logical kasi that would explain her dire poverty and therefore inability to go visit her husband in Munti.) Anyway, Fabian showers her with kindness up to the point of intimacy, parang ganoon. Kung kaya Elisa is not exactly the devoted wife considering her situation. And at the same time, I wanted to show that Fabian, in trying to make things right-- destroys more lives. But Lav's rendition was no less interesting naman.
Moira loved the idea of astral travel and levitation when I suggested that Joaquin was turning into some sort of saint, literally. and it is there that he finds freedom while inside the selda. Samantalang papaliit nang papaliit ang mundo ni Fabian as we see him ostensibly "free" in the midst of the expanse of this wonderful Ilocos landscape.
If I am not mistaken, you share writing credit with Lav Diaz. How was the collaboration like; can you cite which part is entirely yours, which part is mostly his? How was it working with a director who, in most of his films, he himself is the writer?
I wrote the script and Lav rewrote it while shooting it. I gave him the draft and waited for the final dvd. There was no active collaboration, really. I think my instincts told me that Lav is an auteur-- a filmmaker who knows what he wants. and I respect that. And I don't want to quarrel with that.
Maliban na lang kung major issues na. Na wala namang nangyari malaking ganon.
Aside from the fact that I don't have the luxury of spending time for the shoot where Lav does most of his rewriting, etc-- I decided that it was better for him to do what he wants with the script. He consulted me, through Moira, about certain crucial decisions of the characters, pero overall, I stepped aside.
but let me clarify that I don't regret it. Because how the film turned out to be was more than I expected. I don't think it will be a matter of which version is better, mine or his, since 1, it's the same template and we sort of shared that same vision. and 2, I know my place in the scheme of film creation.
Maraming dinagdag na characters si Lav kung kaya lumaki din ang mundo in a way. there's Wakwak (Soliman Cruz), who replaced a gay character (original) in Muntinlupa. there's the sister of Fabian (played by Angelina (Mailes) Kanapi), and also there's Ading (the halfwit caretaker of Joaquin and Elisa's children)-- wala lahat yun sa original. and I believe they were all worthy additions to the story. there are also the teachers of Fabian (Moira and Perry).
Where we diverged actually is about Joaquin's outcome. Lav felt Joaquin should die. I felt he should not. Kasi for me, it would break the "equilibrium" between Joaquin and Fabian. Kung mamamatay si Joaquin, Fabian's evil will be meaningless. Yun yung yin-yang noon, di baga? Kaya sa ending ng film-- I think Lav intentionally made Joaquin's outcome ambiguous.
You came from theater, writing for a number of PETA productions. How did you start writing for film? Is there a difference between writing for different media forms? If there are, can you mention a few.
Malaki ang difference sa akin. Kahit ngayon I have a real hard time writing screenplays. directors still find my scripts "talky", for one. so i try to lessen the "talk" each time I get the chance. I also leanred that there are a few screenwriting "styles" out there vying for "legitimacy" so to speak-- alternative scriptwriting baga-- breaking the 3act structure or going for real time or "found story" etc. I'm no adherent to any but i use whatever I feel suits my story and how I want to tell it.
Another difference would be the obsession of films to realism. which in contemporary theater is so limiting na. Kahit naman yung brand of realism in theater won't be always successful kapag translated to film kasi nga iba ang dramatic realism at iba and cinematic realism. In short madaldal nga. And if you try to simply "transcribe" the playscript into film-- it would still be like watching a play, instead of a film.
My script for Nino (dir. by Loy Arcenas) was something like that. The cinematographer (Lee Meily) was scratching her head when she read the script. she had a big problem kasi it had six major sequences around the dinner table, where the characters were always eating. How do you shoot that??? That was my first lesson. I mean Loy and mine- kasi we were both from the theater.
How does it feel being one of the few celebrated scriptwriters at the moment? In a sense, when a film credits you as the writer, there seems to be some expectations by serious filmgoers. Have you also written for tv?
Naku, sa maniwala ka o hindi, I don't consider myself "celebrated" dyusme. I guess it's because of my sober (and realistic) attitude about a screenwriter's "place" in the film business/art field. I realized early on that if I want to be a successful film writer, it will have to be in complete awareness that the screenwriter is only in control during the scriptwriting phase. Pag shinoot na iyan at inedit na iyan-- marami nang pwedeng mangyari (filmmaker, editor, producer). Even during the scripting phase-- pwede ring mapalitan ang writer-- which happened in Ellen Marfil's Boses kung saan ipinasa sa akin ni Froi Medina ang baton.
Again I'm not venting. I'm just stating a fact. and I don't think screenwriters like should even raise a ruckus about it dahil ganun talaga ang kalakaran. Unless of course the director is more like a "collaborator". Pero kahit pa, the director/producer will have their final say. isa pa iyang kaibahan sa playwriting. kasi as a playwright, I can easily have my script remounted by another director. Sa pelikula it take years or gazillions of pesos. Kaya, yes, I have accepted wholeheartedly that film is ultimately the filmmaker's realm. and I think the earlier screenwriters accept that, the better they will understand and lessen their frustrations.
Which brings me back to being touted as "celebrated"--- wasak talaga para sa akin. In the whole scheme of things therefore, I find it slightly oxymoronic for a screenwriter to be celebrated. hahaha. but that's just me. Kunsabagay si Ricky Lee was celebrated.
I rarely write for TV. But I did. Bayan Ko by GMA News TV was a six-episode series on corruption in a small town, starring Rocco Nacino and Pen Medina. Adolf Alix directed. and also long time ago noong panahon ng TeleSine sa GMA. Mga ganun lang. Not in teleseryes.
As a scriptwriter, what do you think make for a good script? Can you cite a few films, preferably Philippine films, that have inspired you or you can consider as great?
There really is no formula, meron ba? Ako, when I don't see the "seams" and when I get absorbed in the movie, forgetting about the actor as actor, and get into the story without being able to point out, "A,there's the atuhor's note!" o "A, the intentions are too obvious." when i get carried away totally-- or kahit hindi totally, kahit na lang when I find the "flaws' forgiveable dahil it transported me into that world kahit paano-- then bravo na. If it's melodrama, it must be a good melodrama, that hinges more on real issues and logic. I don't have any preferences. I mean hindi naman lahat ng magandang film ay 4 hours long. hahaha
but yes, films that have inspired me? Ganito Kami Noon, Maynila, Milagros (Marilou Diaz-Abaya), Tatlong Taong Walang Diyos, Kubrador (Jeffrey Jeturian), Insiang… are but a few.
Immediate plans--
still writing for film and theater. Pero medyo nakakapagod na rin. Pero directing films is something that never crossed my mind. I've directed plays and doon pa lang nauubos na ang energy ko. film pa kaya? yikes.
Rody Vera, co-writer of NORTE
Given that the story idea for NORTE came from someone else, how did you proceed to start writing the script? In this case, what was the idea/concept given to you and how did you fashion the final story?
The initial story came from the former producer of the film. She wanted a movie based on the story of this prisoner who kept waiting and waiting for his wife to visit him, making one parol each Christmas for seven years. He was about to lose hope when suddenly, his wife arrived from the province and told him that for so long she hadn't had the chance nor the means to come to Muntinlupa to visit him. She went home with all the seven parols her husband gave her. That story was featured (daw) in one of the tv magazine docus (can't remember na.)
When Moira, Michiko and I sat down to brainstorm on the given story concept, I felt it only offered one path-- and that path was toward a tearjerker story. Parang dapat may iba pang layers. so I suggested Dostoevsky's Crime and Punishment. Why not juxtapose this with the story of the prisoner-- it may be a more interesting story of guilt and innocence, freedom and imprisonment. Para sa akin, it became more of juxtaposing Raskolnikov and the Book of Job. when Lav read the story pitch-- he related the Joaquin story to that of Leo Tolstoy's short story "God Sees the Truth But Waits", which may be more apt para Russian Lit na talaga ang mga peg.
When I wrote the script, lalong lumaki ang role ni Elisa. For me this became a sort of triangle where Elisa becomes some sort of fulcrum to this meditative portraits of "good" and "evil". IN the original script, Fabian stalks Elisa and, wanting to atone for his "sin" against Joaquin and his family, hires her. (IN the original kasi she was a labandera, which for me was more logical kasi that would explain her dire poverty and therefore inability to go visit her husband in Munti.) Anyway, Fabian showers her with kindness up to the point of intimacy, parang ganoon. Kung kaya Elisa is not exactly the devoted wife considering her situation. And at the same time, I wanted to show that Fabian, in trying to make things right-- destroys more lives. But Lav's rendition was no less interesting naman.
Moira loved the idea of astral travel and levitation when I suggested that Joaquin was turning into some sort of saint, literally. and it is there that he finds freedom while inside the selda. Samantalang papaliit nang papaliit ang mundo ni Fabian as we see him ostensibly "free" in the midst of the expanse of this wonderful Ilocos landscape.
If I am not mistaken, you share writing credit with Lav Diaz. How was the collaboration like; can you cite which part is entirely yours, which part is mostly his? How was it working with a director who, in most of his films, he himself is the writer?
I wrote the script and Lav rewrote it while shooting it. I gave him the draft and waited for the final dvd. There was no active collaboration, really. I think my instincts told me that Lav is an auteur-- a filmmaker who knows what he wants. and I respect that. And I don't want to quarrel with that.
Maliban na lang kung major issues na. Na wala namang nangyari malaking ganon.
Aside from the fact that I don't have the luxury of spending time for the shoot where Lav does most of his rewriting, etc-- I decided that it was better for him to do what he wants with the script. He consulted me, through Moira, about certain crucial decisions of the characters, pero overall, I stepped aside.
but let me clarify that I don't regret it. Because how the film turned out to be was more than I expected. I don't think it will be a matter of which version is better, mine or his, since 1, it's the same template and we sort of shared that same vision. and 2, I know my place in the scheme of film creation.
Maraming dinagdag na characters si Lav kung kaya lumaki din ang mundo in a way. there's Wakwak (Soliman Cruz), who replaced a gay character (original) in Muntinlupa. there's the sister of Fabian (played by Angelina (Mailes) Kanapi), and also there's Ading (the halfwit caretaker of Joaquin and Elisa's children)-- wala lahat yun sa original. and I believe they were all worthy additions to the story. there are also the teachers of Fabian (Moira and Perry).
Where we diverged actually is about Joaquin's outcome. Lav felt Joaquin should die. I felt he should not. Kasi for me, it would break the "equilibrium" between Joaquin and Fabian. Kung mamamatay si Joaquin, Fabian's evil will be meaningless. Yun yung yin-yang noon, di baga? Kaya sa ending ng film-- I think Lav intentionally made Joaquin's outcome ambiguous.
You came from theater, writing for a number of PETA productions. How did you start writing for film? Is there a difference between writing for different media forms? If there are, can you mention a few.
Malaki ang difference sa akin. Kahit ngayon I have a real hard time writing screenplays. directors still find my scripts "talky", for one. so i try to lessen the "talk" each time I get the chance. I also leanred that there are a few screenwriting "styles" out there vying for "legitimacy" so to speak-- alternative scriptwriting baga-- breaking the 3act structure or going for real time or "found story" etc. I'm no adherent to any but i use whatever I feel suits my story and how I want to tell it.
Another difference would be the obsession of films to realism. which in contemporary theater is so limiting na. Kahit naman yung brand of realism in theater won't be always successful kapag translated to film kasi nga iba ang dramatic realism at iba and cinematic realism. In short madaldal nga. And if you try to simply "transcribe" the playscript into film-- it would still be like watching a play, instead of a film.
My script for Nino (dir. by Loy Arcenas) was something like that. The cinematographer (Lee Meily) was scratching her head when she read the script. she had a big problem kasi it had six major sequences around the dinner table, where the characters were always eating. How do you shoot that??? That was my first lesson. I mean Loy and mine- kasi we were both from the theater.
How does it feel being one of the few celebrated scriptwriters at the moment? In a sense, when a film credits you as the writer, there seems to be some expectations by serious filmgoers. Have you also written for tv?
Naku, sa maniwala ka o hindi, I don't consider myself "celebrated" dyusme. I guess it's because of my sober (and realistic) attitude about a screenwriter's "place" in the film business/art field. I realized early on that if I want to be a successful film writer, it will have to be in complete awareness that the screenwriter is only in control during the scriptwriting phase. Pag shinoot na iyan at inedit na iyan-- marami nang pwedeng mangyari (filmmaker, editor, producer). Even during the scripting phase-- pwede ring mapalitan ang writer-- which happened in Ellen Marfil's Boses kung saan ipinasa sa akin ni Froi Medina ang baton.
Again I'm not venting. I'm just stating a fact. and I don't think screenwriters like should even raise a ruckus about it dahil ganun talaga ang kalakaran. Unless of course the director is more like a "collaborator". Pero kahit pa, the director/producer will have their final say. isa pa iyang kaibahan sa playwriting. kasi as a playwright, I can easily have my script remounted by another director. Sa pelikula it take years or gazillions of pesos. Kaya, yes, I have accepted wholeheartedly that film is ultimately the filmmaker's realm. and I think the earlier screenwriters accept that, the better they will understand and lessen their frustrations.
Which brings me back to being touted as "celebrated"--- wasak talaga para sa akin. In the whole scheme of things therefore, I find it slightly oxymoronic for a screenwriter to be celebrated. hahaha. but that's just me. Kunsabagay si Ricky Lee was celebrated.
I rarely write for TV. But I did. Bayan Ko by GMA News TV was a six-episode series on corruption in a small town, starring Rocco Nacino and Pen Medina. Adolf Alix directed. and also long time ago noong panahon ng TeleSine sa GMA. Mga ganun lang. Not in teleseryes.
As a scriptwriter, what do you think make for a good script? Can you cite a few films, preferably Philippine films, that have inspired you or you can consider as great?
There really is no formula, meron ba? Ako, when I don't see the "seams" and when I get absorbed in the movie, forgetting about the actor as actor, and get into the story without being able to point out, "A,there's the atuhor's note!" o "A, the intentions are too obvious." when i get carried away totally-- or kahit hindi totally, kahit na lang when I find the "flaws' forgiveable dahil it transported me into that world kahit paano-- then bravo na. If it's melodrama, it must be a good melodrama, that hinges more on real issues and logic. I don't have any preferences. I mean hindi naman lahat ng magandang film ay 4 hours long. hahaha
but yes, films that have inspired me? Ganito Kami Noon, Maynila, Milagros (Marilou Diaz-Abaya), Tatlong Taong Walang Diyos, Kubrador (Jeffrey Jeturian), Insiang… are but a few.
Immediate plans--
still writing for film and theater. Pero medyo nakakapagod na rin. Pero directing films is something that never crossed my mind. I've directed plays and doon pa lang nauubos na ang energy ko. film pa kaya? yikes.
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