Tag Archives: Philippine Cinema

Season of the Devil (2018) :: Links



Original Title :: Ang Panahon ng Halimaw
English Title :: Season of the Devil
Year :: 2018
Production Company :: Epicmedia, Sine Olivia Pilipinas, Globe Studios
Producers :: Bianca Balbuena, Lav Diaz, Quark Henares, Bradley Liew
Duration :: 3 hrs 54 mins
Written and directed :: Lav Diaz
Director of Photography :: Larry Manda
Editing :: Lav Diaz
Music :: Lav Diaz
Sound Design :: Corinne De San Jose
Sound :: Adrian Yew Erman
Production Design :: Popo Diaz
Costumes :: Mikee Dela Cruz
Make-up :: Syrel Lopez
Assistant Director :: Hazel Orencio
Production Manager :: Hui Yee Gan
Cast :: Pinky Amador (Kwago), Angel Aquino (Anghelita), Don Melvin Boongaling (Militia 1), Junji Delfino (Aling Maria), Bituin Escalante (Kwentista), Jonathan Francisco (Young Hugo), Bart Guingona (Paham), Dub Lau (Nong), Bradley Liew (Militia 3), Ian Lomongo (Ian), Shaina Magdayao (Lorena Haniway), Hazel Orencio (Tenyente), Piolo Pascual (Hugo Haniway), Lilit Reyes (Militia 2), Joel Saracho (Ahas), Noel Sto. Domingo (Chairman Narciso)



  • Padilla, A. (2018, February 22). BERLINALE 2018 : SEASON OF THE DEVIL BY LAV DIAZ. Desistfilm. Retrieved from [link]
  • Rithdee, K. (2018, February 22). Devil on the doorstep. Bangkok Post. Bangkok. Retrieved from [link]
  • Jagernauth, K. (2018, February 22). Lav Diaz’s Mesmerizing Political Musical “Season Of The Devil” [Berlin Review]. Retrieved February 24, 2018, from [link]
  • Chatrian, C. (2018, February 21). Reversing the Rules – A Brief Reflection on Lav Diaz and His Latest Film. Retrieved February 24, 2018, from [link]
  • Kasman, D. (2018, February 21). Berlinale 2018. It’s Dark Here. Retrieved February 24, 2018, from [link]
  • Romney, J. (2018, February 20). “Season Of The Devil”: Berlin Review. Retrieved February 24, 2018, from [link]
  • Chervel, T. (2018, February 20). Oper ist Aufopferung! Lav Diaz’ “In Zeiten des Teufels” (Wettbewerb). Perlentaucher.de Das Kulturmagazin. Retrieved from [link]
  • Lodge, G. (2018, February 20). Berlin Film Review: “Season of the Devil.” Variety. Retrieved from [link]
  • Sozzo, S. (2018, February 20). #Berlinale68 – Season of the Devil, di Lav Diaz 20. Retrieved February 24, 2018, from [link]
  • Tsui, C. (2018, February 20). “Season of the Devil” (’Ang Panahon ng Halimaw’): Film Review | Berlin 2018. Retrieved February 24, 2018, from [link]


Official Photo

  • Escala, J. (2018, February 24). Piolo, Shaina at Lav Diaz, dala ang bandila ng ‘Pinas sa Berlinale. Balita. Manila. Retrieved from [link]
  • De Dios, K. (2018, February 22). World premiere ng pelikulang “Ang Panahon ng Halimaw” sa Berlin sold out na. DWIZ882. Manila. Retrieved from [link]
  • Awit, J. G. (2018, February 23). Diaz shows rock opera in Berlin. SunStar, pp. 1–6. Manila. Retrieved from [link]
  • Lav Diaz’s “Panahon ng Halimaw” debuts in Berlin: What critics are saying. (2018, February 21). ABS-CBN News. Manila. Retrieved from [link]
  • Sala, J. (2018, February 20). Crónica Berlinale 2018: “Season of the Devil” the act of killing. Retrieved February 24, 2018, from [link]
  • Ehrlich, D., & Kohn, E. (2018, February 12). 10 Must-See Films at the 2018 Berlin International Film Festival. indieWire. USA. Retrieved from [link]
  • Lav Diaz returns to Berlin with musical movie. (2018, January 26). Business World. Manila. Retrieved from [link]
  • San Diego, B. J. (2018, January 22). Lav , Piolo make Berlinale comeback. INQUIRER.net. Manila. Retrieved from [link]
  • Cruz, M. R. (2017, October 2). Shaina , who hates singing , stars in Lav Diaz screen musical. INQUIRER.net. Manila. Retrieved from [link]



  • Official Trailer


  • Ang Panahon ng Halimaw | Press Conference Highlights | Berlinale 2018

  • WATCH: ‘Ang Panahon ng Halimaw’ makes world premiere at the Berlinale (RAPPLER, Feb 22, 2018)

  • FIFIRAZZI: Piolo and Shaina’s ‘Ang Panahon ng Halimaw’, sold out sa Berlin (PTV, February 22, 2018)



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The Monstrosity of Ars Colonia


The soldier

First published in La Furia Umana (Paper Issue) 8, 2015.[1]

In answering the question: ‘What is Cinema Becoming?,’ I return to Raya Martin’s Ars colonia (2011). What I am after really is to find a line of critique – what is becoming in cinema – and to insist that there are no ‘beings’ in cinema, only ‘becomings.’ Consider this a ‘monstrous’ writing, a writing emerging from the back alleys of rhetorical writing, a polemical miscarriage, a vomit of words, an ejaculation of death… While the conventional road of linear discourse can acquaint me with nursed and dolled-up concepts about cinema, I insist on slippages of anything onto everything: netherworlds and farmworlds folding into the thickness of the vegetation; the thinness of the earth folding into rhizomes of the universe – an adieu au langage. One must open the language to let ‘becoming’ take place.

I return to Ars colonia to pay it a visit, to reconcile myself with its images. One night, I was half-awake in bed knotting thoughts upon thoughts: thinking, nursing a monster in my head, creating a dwelling place, a scary place, a decentered place, lingering and looming in the darkest corner of the mind – and it was there, the film becoming a nightmare, a monstrosity.

I return to Ars colonia not to write about it as a subject, but more of elaborating an encounter, a dream, a feeling, a memory of coming back, of coming into sense. I have been haunted again and again by the image of soldier walking at sea in Ars Colonia. I wonder why such a walk would involve a vast sea accompanied by islands. I wonder through and through, in sleeping and waking up, in lying in my bed, in my friend’s bed, in my lover’s bed with his arms wrap around me. I wonder about the soldier and sea and the islands and the explosions and the marching on and on and on… The film, although only one-minute in length, lengthened inside me to hours, days, weeks. It folded the past into my present. Its images distorted my thoughts like how all memories became – a forgetting. The gesture of walking, the feeling of the water brushing through the myriad spaces of the trousers, the weight of the metallic gear on the head – all form an assemblage of an Ars colonial soldier – a haunting, a ghost from the netherworld – I, myself, beginning and becoming the soldier in my dreams.

Ars colonia is a parcel of Martin’s labyrinth. As part of a labyrinth, one does not simply arrive in Ars colonia. One wakes up inside it, trapped and punctured by the lines and forces it bequeaths, for to experience is not to ‘be’ but to ‘become’. To see Ars colonia in its full state, one must ‘become’ the eye of a dreamer sleepwalking along its intersecting planes of virtualities. Ars colonia is an ‘and’ between Independencia (2009) and Buenas Noches, Espana (2011), two other labyrinths in Martin’s career. Ars colonia says goodbye to Independencia by walking out of it, carrying within its body remnants of colors from the last shot of Independencia: a sky etched with sanguine blood seemingly bridging and continuing towards the colored skies of Ars colonia; whereas Ars colonia’s hues and saturations continues towards Buenas Noches, Espana. In effect, Ars colonia becomes a short conduit between the two feature films. It is not, however, a bridge but a passageway, an underground tunnel buried beneath the surface of the earth. It is not a canal but a rhizome, a segment that transforms as it transports liquid. The color effect in the two films Independencia and Ars colonia achieves a tectonic state in Buenas Noches, Espana: as the latter film among the three, Buenas Noches, Espana settles the destiny of its colors by transforming it into an earthquake, a catastrophe of saturations, a chaos aimed to break the retina of the eye more than what Godard’s two films Film Socialisme (2010) and Adieu au Langage (2014) can do.

The Ars colonial landscape is choleric born from Martin’s etching of the celluloid with colored felt-tip pens. Martin suspends, via this process, the portraiture of the ‘old’ in the film, disturbing its supposed historical body with evasive coloring of the sky and the sea. In effect, the whole figurative landscape achieves a vibrational state, heaving and breathing, life-like but animated. The colors’ coarseness, its disruptive energy, leaves a trace of the past in the present. It is as if the artist’s manipulation of the color takes the shape of penetrative pulses of the present intervening the past.

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