{"id":263475,"date":"2020-07-30T02:11:17","date_gmt":"2020-07-30T06:11:17","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=263475"},"modified":"2020-07-30T08:04:44","modified_gmt":"2020-07-30T12:04:44","slug":"lav-diaz-competes-for-venice-film-festival-with-lahi-hayop","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2020\/07\/30\/lav-diaz-competes-for-venice-film-festival-with-lahi-hayop\/","title":{"rendered":"Lav Diaz competes for Venice Film Festival with \u201cLahi, Hayop\u201d"},"content":{"rendered":"<figure id=\"attachment_263476\" aria-describedby=\"caption-attachment-263476\" style=\"width: 2808px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2020\/07\/Lav_Diaz.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-263476\" src=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2020\/07\/Lav_Diaz.jpg\" alt=\"\" width=\"2808\" height=\"1872\" srcset=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2020\/07\/Lav_Diaz.jpg 2808w, https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2020\/07\/Lav_Diaz-300x200.jpg 300w, https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2020\/07\/Lav_Diaz-768x512.jpg 768w, https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2020\/07\/Lav_Diaz-1024x683.jpg 1024w\" sizes=\"auto, (max-width: 2808px) 100vw, 2808px\" \/><\/a><figcaption id=\"caption-attachment-263476\" class=\"wp-caption-text\">FILE: Filipino film maker Lavrente Indico Diaz at the Berlinale on 18 February 2016 (<a href=\"https:\/\/commons.wikimedia.org\/w\/index.php?curid=50562530\">Photo By Paul Katzenberger &#8211; Own work, CC BY-SA 4.0<\/a>)<\/figcaption><\/figure>\n<p>Award-winning filmmaker Lav Diaz is once again gracing the Venice Film Festival with his new work \u201cLahi, Hayop\u201d (\u201cGenus Pan\u201d), which will be one of his shortest movies.<\/p>\n<p>61-year-old Diaz is known for his contributions to <em>slow cinema <\/em>or long narrative films such as the 2004 film \u201cEvolution of a Filipino Family\u201d that is 625 minutes or 10 hours and 43 minutes long. However, his entry for the 77<sup>th<\/sup> Venice Film Festival will only run for 150 minutes or two hours and 30 minutes.<\/p>\n<p>\u201cLahi, Hayop\u201d is part of the 19 entries selected for the Orizzonti competition which is described by the festival as \u201can international competition dedicated to films that represent the latest aesthetic and expressive trends in international cinema.\u201d The other 18 entries can be viewed <a href=\"https:\/\/www.labiennale.org\/en\/cinema\/2020\/orizzonti\">here<\/a>.<\/p>\n<p>The festival\u2019s website has yet to release a synopsis but the film&#8217;s main cast is composed of Bart Guingona, DMs Boongaling, Nanding Josef, Hazel Orencio, Joel Saracho, and Noel Sto. Domingo.<\/p>\n<p>It can be remembered that Diaz\u2019s \u201cAng Babaeng Humayo\u201d (\u201cThe Woman Who Left\u201d), starring Charo Santos and John Lloyd Cruz, won the Venice Film Festival\u2019s main competition back in 2016. However, two of his films entered into the Orizzonti competition also won before; namely \u201cKagadanan sa Banwaan ning mga Engkanto\u201d (\u201cDeath in the Land of Encantos\u201d) got the Golden Lion Special Mention in 2007 and \u201cMelancholia\u201d bagged the grand prize in 2008.<\/p>\n<p>Venice Film Festival 2020 will run from September 2 to 12.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Award-winning filmmaker Lav Diaz is once again gracing the Venice Film Festival with his new work \u201cLahi, Hayop\u201d (\u201cGenus Pan\u201d), &hellip;<\/p>\n","protected":false},"author":33,"featured_media":263476,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,46],"tags":[],"class_list":["post-263475","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","category-entertainment-ph","mauthors-bea-kirstein-t-manalaysay","mauthors-philippine-canadian-inquirer"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/263475","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/users\/33"}],"replies":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/comments?post=263475"}],"version-history":[{"count":2,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/263475\/revisions"}],"predecessor-version":[{"id":263521,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/263475\/revisions\/263521"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media\/263476"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=263475"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=263475"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=263475"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}