Norte, the End of History

Channelling Dostoevsky, Lav Diaz crafts a narrative fuelled in equal parts by idealism and brutal nihilism.

On the verge of opening an eatery, Eliza’s dreams are up in smoke. An injury has sidelined her husband from work, and the couple must sell all their possessions to stay afloat, including everything they’ve purchased for the new venture. Magda, a local pawnbroker, is willing to take it all for the right price.

Fabian is a promising young law student who has become disillusioned with the world. Having dropped out of university, he still flits around the cafe society with the brightest legal minds in his circle, but he is heading down a nihilistic path. Also needing money, he too gets sucked into Magda’s exploitative orbit, leading to tragic outcomes for all.

Curator’s note
Laz Diaz’s second reimagining of Dostoevsky’s Crime and Punishment – after his 1998 film The Criminal of Barrio Concepcion – sees the director wearing his influences proudly on his sleeve. Aside from Dostoevsky, there are also nods to Andrei Tarkovsky, Apichatpong Weerasethakul and Carlos Reygadas, but the film remains unmistakably Diazian in every way.

Norte, the End of History was Diaz’s first film to be officially selected for the Cannes Film Festival, bringing the director greater international recognition.

– Reece Goodwin, Senior Programmer (Film & Screen Industry)