In 1997, Pedro Costa (above), at the age of 38, began a trilogy exploring Portugal's impoverished, an undertaking that would continuously draw raves from the more erudite critics around the world. First came Ossos, which was pursued by In Vanda's Room (2000) and Colossal Youth (2006). These films, often showcasing the same characters, are sublimely visual, meditative masterworks that paint within shadows the seemingly plotless lives of the drug-addled inhabitants of a ghetto that is slowly being dismantled.
The Film Society of Lincoln Center last week had a retrospective of these early works plus other tidbits of Costa's oeuvre, a sort of celluloid foreplay leading to the release of Costa's latest effort, Horse Money. The accompanying press release for this tribute notes that "Costa is now widely regarded as one of the most important artists on the international film scene," and the Film Society's Director of Programming, Dennis Lim, added, "Simply put, nobody makes...
The Film Society of Lincoln Center last week had a retrospective of these early works plus other tidbits of Costa's oeuvre, a sort of celluloid foreplay leading to the release of Costa's latest effort, Horse Money. The accompanying press release for this tribute notes that "Costa is now widely regarded as one of the most important artists on the international film scene," and the Film Society's Director of Programming, Dennis Lim, added, "Simply put, nobody makes...
- 7/30/2015
- by Brandon Judell
- www.culturecatch.com
Release Date: Available Now Director: Pedro Costa Starring: Vanda Duarte, Lena Duarte, Zita Duarte, Pedro Laban, António Moreno Cinematographer: Costa, Emmanuel Machuel Studio/Run Time: Criterion, 429 min. More than anything, Pedro Costa’s films are beautiful. Not postcard-pretty or rapturously afire, but composed in ways that make the incidental feel revelatory. Shot in rudimentary conditions over long periods of time, often shrouded in darkness and framed as stationary tableaux, the imagery evokes the Old Masters and lingers in your memory. His films rethink narrative as a kind of osmosis—mysteriously gathering substance out of glances and reveries, yet grounded in the...
- 8/27/2010
- Pastemagazine.com
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