Lav Diaz sobre Magallanes: “El cine puede parecer grande incluso con una cámara pequeña”.

      Filipino writer, director, editor, production designer, and cinematographer Lav Diaz has an impressive portfolio, having created over 25 features in a career spanning nearly three decades, and he continues to push boundaries. In his latest film, Magellan—a biopic that defies the traditional genre conventions and stands out as one of the year's biggest surprises—he ventures into new territory once again. This time, he departs from the microbudget Filipino filmmaking system that he has developed, which has allowed him to produce lengthy, meditative, and experimental films lasting more than ten hours, often with small crews that Hollywood has seldom experienced.

      With major star Gael García Bernal in the lead role and a strong team of Portuguese and Spanish producers backing him, Diaz blends his avant-garde sensibilities with a surprisingly conventional narrative style that is attracting more global attention than most of his previous works, regardless of their strength. On the brink of its U.S. release, I had the opportunity to discuss with him the story of the often-glorified colonizer, his insights on Magellan's impact on modern-day Philippines, his innovative approaches to filmmaking, and his new artistic processes.

      The Film Stage: You have five significant roles in this film that I’d like to discuss, starting with the screenplay. What led you to write a film focusing on Magellan?

      Lav Diaz: For Filipinos looking to grasp their history—not just the events but the reasons behind our current state—Magellan is pivotal. He was the first European to set foot in the Philippines, and his arrival initiated the conversion that resulted in 80% of the population becoming Catholic. His story serves as an important lens for exploring the Filipino spirit, so to speak.

      Is it accurate that 80% of the population remains Catholic?

      Yes, it is. The Santo Niño icon, which he gifted to a local chief’s wife in the film, is very real. Today, it remains the most significant religious icon in the Philippines. Thus, the influence of Magellan endures.

      How long did you take to write the screenplay?

      Initially, I presented a different story to secure funding, focusing on Beatriz, Magellan's wife. She is rarely mentioned in historical texts, appearing only briefly in most literature. She was young, perhaps around 19, and they had two sons. She was the daughter of Diogo Barbosa, a close friend of Magellan. The scant information provided intrigued me; it presented an opportunity to create a narrative around Beatriz. However, as I researched further, I realized the dominant theme was colonization, which required me to circle back to Magellan.

      You are also credited as the production designer. What does that entail for you? Is it mainly a pre-production task, or do you remain involved throughout filming?

      It involves scouting locations and conducting research. I envisioned the design of the late 15th and early 16th centuries and how Magellan interacted with elements like the slave trade and key events during his youth. I imagined the complete atmosphere—the look, the scent, the sensation.

      Do you create visual designs for your team to follow?

      I communicate my visions rather than drawing them. We had an art director from Portugal and Spain, along with two Filipino designers, collaborating to achieve the desired look, costumes, sets, and all details.

      What about the ship?

      We found the real Victoria! It was restored but still intact. Those ships were incredibly well-built, akin to rocket ships in their strength, able to endure fierce storms. The engineering from the early 16th century is astonishing—remarkable how they constructed those crafts without the use of nails.

      Did you design any specific features of the ship?

      Just minor details like some decorations and ropes, but the sails on the replica were retained.

      Was filming on the open ocean challenging?

      Yes, definitely. When we were shooting on speedboats, the wind was intense, and we were often soaked. I fell ill during production because it was so wet and cold, with strong winds and rough waves. It was a demanding shoot.

      That’s interesting, considering that the sailing footage appears so serene and meditative.

      Yes, we have excellent stabilizers available now, even within the camera.

      Did you also stabilize shots in post-production?

      A bit, yes. However, the in-camera stabilization and some DJIs made it quite effective already.

      What camera did you use for filming?

      We used just one camera: the GH7. It's a compact Lumix I’ve utilized before and is quite powerful. I’ve been using the GH series for a long time—starting from the GH1, which I originally received as a gift, to the GH2, GH3, GH5, and now the GH7. I have a strong familiarity with this camera.

      How did you divide the cinematography responsibilities with Artur Tort?

      I shot the scenes set in the Philippines, while Artur took over during the European segments. This was seamless because