The official narrative focuses on Diaz's artistic evolution, framing the new film as a deep, meditative hunt for truth within his acclaimed Hermes Trilogy.
Insiders are buzzing about the timing: Diaz is balancing a high-profile Venice Open selection with the intense, secretive post-production of his Portuguese-set thriller.
Lav Diaz returns to Venice with 'Let Us Through, Dear Ancestors' (Makikiraan Po) while currently in post-production on 'An Entry Into the Sadness of a Portuguese Woman'.
Diaz isn't just attending Venice; he's actively editing a major chapter of his cinematic legacy while walking the red carpet.
Lav Diaz is back where he belongs, the Venice Lido, but this time he’s bringing more than just a presence—he’s bringing a puzzle. The Filipino auteur, known for his marathon-length narratives and Golden Lion-winning prowess, is currently splitting his attention between the festival’s public eye and the private, rigorous work of the editing room. While he presents his Venice Open selection, “Let Us Through, Dear Ancestors” (also known by its original title, “Makikiraan Po”), the real intrigue lies in what he’s crafting in the shadows.
Sources confirm that Diaz is deep in post-production on “An Entry Into the Sadness of a Portuguese Woman,” the third installment of his critically acclaimed Hermes Trilogy. For those keeping score at home, this isn’t just any sequel; it’s the continuation of a project that has already cemented Diaz’s status as a titan of contemporary art-house cinema. The title itself promises a shift in geography and tone, moving from the Philippines to the melancholic landscapes of Portugal, a choice that has already sparked intense speculation among film critics and fans alike.
The juxtaposition of these two projects highlights Diaz’s relentless work ethic and his desire to control every frame of his output. While “Let Us Through, Dear Ancestors” serves as his official return to the festival circuit, offering audiences a glimpse into his current thematic interests regarding ancestry and memory, “An Entry Into the Sadness of a Portuguese Woman” represents the next evolution of his trilogy. The film’s status in post-production suggests that Diaz is refining the narrative with the same painstaking detail that defined his previous works, ensuring that the final cut meets his exacting standards.
As the festival unfolds, all eyes will be on Diaz not just for his public appearances, but for any leaks or teasers regarding the Portuguese chapter. Will it match the haunting beauty of “The Woman Who Left”? The anticipation is palpable. For now, we have to wait for the finished product, but one thing is certain: Lav Diaz is not resting on his laurels—he’s actively hunting for truth, one frame at a time.
