Who Is the Traitor, Who Is the Trickster and Who Is Diaz’s Woman Who Left?

Diaz’s post-Batang cinema has the formal characteristics of slow cinema, which places at the centre of its (political) programme the problem of time and its modulations. The article points out certain problems of (self)granted emancipatory power, which the artists consider to be inherently present in the aesthetic formation in the shape of theoretical and practical lm movement.

The integral version of this article can be found in the printed KINO!