Over its four hours runtime, Norte counterbalances Raskolnikov figure, Fabian (Sid Lucero) who theoretically justifies then carries out the murder of a local money lender, with the family of the man who eventually goes down for the crime.
Where Dostoyevsky mined taut psychological territory, Norte opts for a looser marriage of philosophy and social realism. Possibly looser than required. Though I'm not versed in recent Filipino politics, it is clear that Diaz goes to great lengths to stitch references and thematic parallels into his film. Rather than scruitinise Fabian's fiendishly intellectual amorality Diaz gives way to immersive allegory. It rewards, though not to the degree that you'd hope from a film of such substantial length. Apparently, it's Diaz's thing but, for me, many of the extended sequences would have been better served with some judicious cutting. Presenting the passage of time through the passage of time started to, well, drag.
Perhaps I'm just being persnickety because Diaz didn't see fit to focus on 'Crime and Punishment's Raskolnikov/Porfiry dynamic and by sidestepping their tense manifesto-enlightening conversations, diminished the redemptive core of the novel. That's not to say that Norte shouldn't be its own beast but Diaz's take on redemption feels shaky, especially on the downhill slide into the pit of obligation, sexual violence and not-so-just desserts.
★★★☆
Trailer:
Disclaimer: Due to excessive work and excessive film going, MIFF posts are going to be pretty sketchy this year. I'll come back to some of the better ones and write them up proper-like if the mood takes.
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