Lav Diaz is considered a practitioner of “slow cinema” – along with directors such as Lisandro Alonso, Bela Tarr, and Theo Angelopoulos. Somehow the “movement” has been defined as being minimalist, lacking much in the way of traditional dramatic structure or narrative, and, in some quarters, is considered antagonistic to the audience. Personally, I think the category is faddy and a bit pretentious, riding on the “I’m more authentic/sensitive/astute than you are” pieties of the slow food movement (among others). Then again, dear observant reader, you might have noticed that I’m a bit of an atavistic grouch, so take such food for thought with a grain of sun-dried sea salt. The observational mode, wherein the viewer does different work (I will not say more, because I think classical Hollywood film making requires an equal investment in viewer attention) – building a narrative in concert with a portrait of time experienced more phenomenologically – has been around as long as cinema has. What is now lumped into this category in the past were simply called “art films,” and included at least much of the work of the European new-waves and, to some extent, Neorealism. These films tend to be more concerned with the experience of time passing, and with lived reality, rather than dramatic structure.
Norte does not feel terribly slow, nor terribly different from other art films that tackle the lives of fairly ordinary people. The story (yes, there is one) has superficial similarities to Crime and Punishment: an intellectual adrift in his existential crisis kills a pawn lady and her daughter as a challenge to himself and a rebuke to his social position, and the good husband of a struggling family suffers for it in his stead. The first hour or so of the film follows the intellectual, a law school dropout, within his milieu, and then switches for the bulk of the film’s remainder to the family, fragmented by the crime. We see the husband in jail, slowly becoming beatified and transformed (he was already good, but becomes more so), while his wife, their children, and her sister struggle to get by and deal with the separation. The film does not lack drama; alterity reemerges in the final half-hour or so and offsets the “slowness,” or rather the habitual daily rhythms, established earlier, in ways that reconfigure our sense of the protagonists and their futures. (The last shot can be read as either slightly hopeful or despairing in a fashion that would make a Neorealist proud). Diaz does a great job of capturing the sense of time passing in a palpable way, the characters shifting as existence weathers and, to some extent, redeems them. Highest marks go to the audio; like much slow cinema, Diaz eschews music and favors seemingly ambient sound. It is mixed and layered so well that in some sequences it builds invisibly, but with more purpose and complexity than the visuals, with a high level of detail. He is also a master of shooting at night, capturing the nocturnal exhale of the earth, or the electric hum under the solitary smoker’s contemplation, as well as anyone. The climaxes of the film’s various lines were my only reservation. Diaz is not jerking viewers around, there are good reasons for resolving things as he does, but it also feels a little like he is jumping from one trope to another: art film as observer of lived reality to art film as deus ex machina, meter of the absurdity and impersonality of the universe. There’s no reason not to see it, friends, it’s on Netflix.