1972年在菲律宾的一个偏远乡村发生了许多神秘事件。森林里传来哭泣声、母牛被砍死、在田间发现流血死去的男人、许多房屋被烧毁。军事行动越来越普遍，残忍的民兵统治着乡村。费迪南德·E·马科斯宣布1081号公告命令，实行全国戒严。

　　因为今年是威尼斯电影节70周年华诞，陈可辛与贝托鲁奇、金基德、贾樟柯等全球知名导演，以“重启未来（Future Reload）”为题，拍摄了70部短片，向威尼斯电影节“祝寿”。28日当地时间22时，这70部短片正式播出。

电影分为三个短片。
《迭迭山中》：美淑和珍英是曾经无话不谈的好友，但随着时间的推移渐渐失去了联络。一晃眼很多年过去，美淑决定再次拾起和珍英之间的联系，才发现，此时珍英正在和自己的前男友交往，一时之间，美淑内心里五味杂陈。
《COMA》：男主人公的爷爷去世了，为了完成爷爷的遗愿，男子来到了一个神秘的小小村落之中，在这里，他遇见了他命中注定的爱情。
《蝴蝶没有记忆》：一名菲律宾商人在加拿大开了一家金矿公司，却因为经营不善而面临着倒闭的命运，就在商人决定关掉公司离开加拿大时，却遇见了一个让他改变了主意的女人。

从公元2034年开始，东南亚在过去三年里一直处于黑暗状态，实际上是因为太阳在2031年因西里伯斯海的大规模火山爆发而没有发光。疯子控制国家，社区，飞地和泡沫城市。灾难性的流行病在整个大陆上空蔓延。数百万人已经死亡，数百万人已经离开。

亚洲电影资料馆庆祝10周年。八人八色组成的电影。

赫萝西亚（切洛•桑托斯-孔奇奥 Charo Santos-Concio 饰）本是一名与世无争的老师，却因为平白无故遭到诬陷而被关进了监狱，面临着三十年的监狱生活。在这漫长的三十年即将接近尾声之时，赫萝西亚的冤屈被平凡，她被无罪释放了。原来，赫萝西亚在监狱里最好的朋友皮特罗（Shamaine Centenera 饰）承认当初正是自己诬陷了赫萝西亚。就这样，赫萝西亚重新回到了阔别已久的社会中。
三十年的时间实在是太长了，这期间，许多事情都发生了翻天覆地的变化。赫萝西亚的丈夫已经去世，儿子莫名失踪，女儿背井离乡。赫萝西亚开始调查这场阴谋背后的真相，发现这一切和自己的前男友（Michael De Mesa 饰）有着千丝万缕的关联。

On an island far from the main land of the Philippines, islanders who used to be wealthy go through economic difficulties when a goldmine company withdraws from the area. Ferding, Santos and Willy only drink in despair. One day, a Canadian woman’s visit changes everything.... Through the expression of the contradictory nature of the prosperity development brings and the environmental destruction it causes, the pain Philippine society experiences is fully captured.

Lav Diaz于2008年完成的新片，获得2008年第65届威尼斯电影节地平线单元最佳影片大奖。
本片可能是Lav Diaz最复杂的影片。长达7个半小时的片长对于熟悉Lav Diaz的人来说已是司空见惯。影片大致由三个部分和尾声组成：第一部分发生在Sagada村，男主角Julian和女主角Alberta以及他们的朋友Rina分别以不同的人格扮演来试图排解心中失去亲人的苦闷；第二部分是在马尼拉，此时Rina已因忧郁自杀身亡，Julian和Alberta因之前在Sagada村的人格扮演疗法发生争执，两人各执己见，但均无法找出真正治疗忧郁症的方法；第三部分是倒叙十年前发生在Mindoro岛上的左翼激进分子和军方的抵抗斗争，Alberta的丈夫Renato是激进组织的一员，在战友纷纷牺牲的情况下，Renato内心产生了激烈的斗争，认为自己的悲伤永无平息之日，后遭军方杀害。
除了标志性的黑白固定机位长镜头，Lav Diaz在这次的新片里安排了很多对话，目的就是要表达自己的思想，此外也触及了对菲律宾政治以及菲律宾电影史的探讨，很多思想甚至令人费解。影片情节线索复杂，叙事方式和视角不断切换，时空看似明朗但并不容易理清，加之时而伴有抒情性段落的插入，在丰富影片表意层次的同时也更增加了理解的难度。影片中每个人的故事都是通过他人的讲述引出的，而其本人的讲述却难辨真假，使人联想起福克纳的小说《押沙龙！押沙龙！》。

一个男人因为凶杀案含冤入狱，而真正的凶手则逍遥法外。凶手是一位文人，对祖国接连不断发生的背叛事件和人心冷漠而感到心寒。身陷囹圄的男人在遇到一些奇怪神秘的事件后，感到牢狱生活似乎不再那么难以忍受。

20世纪70年代末期，一支由军队控制的民兵团体控制了菲律宾丛林中的一个遥远村庄。士兵们身着制服，手握机关枪，在村子里散布肉体和精神上的恐惧。他们使得村中邻里之间反目为敌，并试图根除村民们对传说和神灵的信仰。勇敢的年轻医生洛雷娜为贫苦人家开设了诊所，却随后消失不见。她的丈夫雨果·海尼威是一名诗人、社会运动家和老师，打算去寻找妻子的下落。而当他到达这个村庄时，他遭遇到了一个被专治和暴力摧毁的社群。

本片深入研究了人性——也许是我们动物性冲动的进化。雨果岛是菲律宾群岛中一个被上帝遗弃的岛屿，在这里只有很少的好事发生：日本占领者在二战中建立了一个强迫妓女的营地，现在矿工们为了微薄的收入在泥泞中拼搏。其中三个人于是开始寻找更好的生活。但在旅途中他们发现，人类的历史就是一部暴力的谱系。片名指的是动物世界中我们最亲密的表亲之一黑猩猩的动物学名称。

Depicting the struggles of Filipinos in rural areas under the brutal Marcos regime, a family of poor farmers tries to overcome the challenges brought on by corruption and greed for power spanning 1971 to 1987.

拉夫狄亚兹 (《莫忘初衷》，39 届) 真是电影奇葩，孜孜不倦用超长片长做电影兼国族宣言，意义已超越光影。层次分明波澜壮阔的史诗，革命英雄的说法多角度话分几头，说得异常深刻动听。1896 年菲国独立前夕，独立先锋邦尼法素遭敌对革命军奸计杀害，妻子孜孜展开一段遍山寻找丈夫遗体的长征，革命军自相残杀、西班牙殖民者的无间阴谋铺展开来，相关历史、文学与神话无一遗漏，恩怨情仇难三言两语，狄亚兹以长镜头凝视，掘出埋没的历史真相。革命英雄至今尚未获追认，就由光影做个见证。菲律宾历来最强卡士阵容，也史无前例最长的一部柏林影展竞赛片。今年柏林影展Alfred Bauer银熊奖。

As no other filmmaker, Lav Diaz is involved with the suffering of the people of the Philippines, with its history of colonialism, corruption and poverty. A philosophical drama about the psychological effects of injustice and arbitrariness. Two poor labourers leave the city looking for a treasure.
Few filmmakers make films as long as those of Lav Diaz. Six hours is not even particularly long within his oeuvre. He has films to his name that are twice that long. And even fewer filmmakers would want to reshoot a film they’ve already made. Yet that’s what happened here. Lav Diaz shot a first version of Florentina Hubaldo, CTE in 2009. Once he had a HD camera, he decided to shoot the film again. Another long film. Back to distant and inhospitable locations. It says a lot about this filmmaker's commitment that he does not make life easy for himself when telling his epic social dramas.
Florentina Hubaldo, CTE has several protagonists. There are the two construction workers, Manoling and Juan, who have become unemployed and left the city to go digging for treasure. There’s the shopkeeper Manang Nena who makes her daughter become a prostitute. And the Harvard-business student Briggs who takes over his family's feudal company. Stories that show the extreme aspects of the Philippines.
Programmer Note by Gertjan Zuilhof:
Lav Diaz in Rotterdam: Florentina Hubaldo, CTE: 300' x 2 = 600' + Century, 355' x 2 = 710' + Butterflies: 58' x 3 = 174' + Melancholia: 480' x 3 = 1440' + Purgatorio: 16' x 2 = 32' + Encantos: 540' x 2 = 1080' + Heremias book 1': 540' x 1 = 540' + When the Rain Ended: 7' x 2 = 14' + Evolution: 630' x 2 =1260'. Total: 5850 / 60 = 97.5 hours.
Yes, I decided to count it all up. After the screening of Florentina Hubaldo, CTE, the festival has screened almost 100 hours of Lav Diaz. Lav Diaz is the master of the long film, which is called more elegantly in French film fleuve, and since his masterpiece Evolution of a Philippine Family (2005) we have followed his work closely. Or, to pursue the French metaphor, we have drifted down the river with him.
There’s plenty to be said about the work of Lav Diaz. These are opulent stories that are embedded in a complex social-political and geographical history, but they are also just long or very long films that demand a certain physical perseverance from the Spectator.
I love to allow myself to be swept away by the full length and duration of the films, but that doesn’t mean that I don’t occasionally drift off. For instance - I think it was in 2006 - I saw the rough version of Heremias on the Philippine vacation island Boracay. The Cinemanila festival was accustomed to organising workshops on the island and Lav Diaz was to screen his latest majestic work at night in the open air on the famous white beach. I didn’t want to miss that.. For technical reasons, the screening was moved inside and at the end of the film, Lav Diaz's producer, himself and I were the only spectators left. 'Last-man standing,' Lav said about me next day to the director of the Cinemanila Festival, which wasn’t quite true. During the final titles, I was shaken awake by the master so I was just in time to see the HBF logo.

A majestic film in which two stories easily fit. One about a filmmaker who is a little like Diaz himself and wrestles with the completion of his film and with greedy film festival programmers. And one about a religious leader. Also a little like Diaz himself?
The films of Lav Diaz often tell serious epic stories, but they are still not entirely free from humour and satire. For instance in this film, Diaz takes the mickey out of festival programmers and also sketches a picture of himself that is not entirely free from self-mockery.
The film has two or three stories (also a film in the film) and one of them focuses on the filmmaker Homer, who very much resembles Lav Diaz himself. The tortured filmmaker wrestles with completing his film. Despite pleas from those around him and from eager programmers, he continues to refuse to regard his film as finished. Alongside the story about a nun in the film on which Homer is working, there’s another story about the religious leader Father Turbico. Turbico leads a sect in the countryside that is primarily made up of young women. When one of the women wants to leave the sect, a dramatic situation ensues.
By telling the stories in parallel, similarities become visible between Homer’s struggle with cinema and Turbico's struggle with faith.

An engkanto, or encanto, is an often-malign spirit dwelling in the Filipino countryside, although in Death in the Land of Encantos, some of them have migrated to eastern Europe as exiles. Their human counterpart is the film’s protagonist, Benjamin (“Hamin”) Agusan, a poet who returns from years in Russia to search for the body of his girlfriend in the wake of a catastrophic typhoon and landslides. These 2006 disasters devastated the Bicol region where Diaz’s films have been set since Evolution of a Filipino Family, killing thousands. This film, which inaugurated Diaz’s “trauma trilogy,” includes documentary footage in an attempt to record the suffering of the local inhabitants.
A Filipino poet named Benjamin Agusan (Roeder Camanag) is the hapless native who returns to his hometown Padang to witness the aftermat h of the super typhoon. For the past seven years, Benjamin had been living in an old town called Kaluga in Russia. With his grant and residency, he taught and conducted workshops in a university. The poet published two books of sadness and longing in the process. In Russia, Benjamin was able to shoot video collages, fell in love with a Slavic beauty, buried a son, and almost went mad. He came back to bury his dead-father, mother, sister and a lover. He came back to face Mount Mayon, the raging beauty and muse of his youth. He came home to confront the country that he so loved and hated, the Philippines. He came back to die in the land of his birth. He wanders around the obliterated village meeting old friends and lovers.

In the year 2050, the Philippines brace for the coming of the fiercest storm ever to hit the country. And as the wind and waters start to rage, poets are being murdered.
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The Day Before The End won the Principal Prize at the 2016 International Short Film Festival Oberhausen. The jury cited it as “a work of political urgency. Made by an artist known for works that unfold over many hours, this short film is both elaborate and succinct.”

主角耶利米的生財架生一頭牛和貨車給偷了。他找警察報案，其間發現一幫少年在密謀綁架一名少女Helena，而當中的密謀主腦就是村裏的富家子。貪污和貧窮、警察和無政府狀態，才是導演要講的故事。如果身為警察的審判者都貪污，正道何在？結果耶利米去教堂找神父，神父叫他找警察。耶利米說警察都找過，可是警察也勸他不要多事。神父叫他祈禱求神幫助，因爲神會審判，公義在祂。耶利米說，可是那個少女將會給殺死，求公義有用嗎？他再次找警察，結果挨了一身毒打。耶利米很絕望，他祈禱同神講數，以絕食四十日徒步四十日交換少女的命，這是他唯一能做的，就是爲了救回少女Helena。

二十九年的监狱生涯终于完结，海明尼哲度返回自己熟悉的地方。他要取回失去的财富、土地，及爱情，并杀死一个偷走他一切的人——他的挚友。