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Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
A Review of Horse Money [Cavalo Dinheiro], Directed by Pedro Costa (Portugal, 2014)
A Review of Horse Money [Cavalo Dinheiro], directed by Pedro Costa (Portugal, 2014). Ivan Cerecina University of Sydney Even among the diverse field of entries at the 2015 Melbourne International Film Festival, Horse Money remained a unique propo- sition. Although director Pedro Costa has made no secret of his key influences over the years, Horse Money strikes one as a film that shows the director working through a very personal set of aesthetic and phil- osophical preoccupations.1 While those who have followed Costa’s filmography in recent years will note the many continuities between Horse Money and the Portuguese director’s previous films (both in terms of casting and the broad subjects his films tackle), Horse Money also signals a few key departures from the director’s previous work, testifying to the evolving nature of his artistic vision. Given Horse Money’s inventiveness, it is worth reflecting on Cos- ta’s career in order to better understand what is distinctive about this new work and the fresh challenges it poses to viewers familiar with the director’s oeuvre. Over the years, Costa’s craft has developed into its current, singular form through several incremental shifts in approach, Philament 22: Precarity philamentjournal.com 123 124 Philament 22: Precarity with each new film seeming to expand on a discovery made in the last. These discoveries have been technological — as when Costa embraced the switch from analogue to digital film in the early 2000s — as well as related to questions of aesthetics, attitude, and the approach subject matter. Often, as inIn Vanda’s Room (2000), Costa’s technological and aesthetic approaches have been closely interrelated; there, we saw the convergence of a more intimate attitude towards representing others that was made possible by the artisanal, low-budget production model of early digital filmmaking.2 It was before the 2000s, however, that Costa confirmed his cinephile credentials in his first two features,O Sangue (1989) and Casa de Lava (1995). -
Vitalina Varela
VITALINA VARELA Vitalina Varela, 55 anos, cabo-verdiana, chega a Portugal três dias depois do funeral do marido. Há mais de 25 anos que Vitalina esperava o seu bilhete de avião. Vitalina Varela, 55-year-old, Cape Verdean, arrives in Lisbon three days after her husband’s funeral. She’s been waiting for her plane ticket for more than 25 years. Portugal | 2019 | 124’ | DCP | Cor | 5.1 Com / With Vitalina Varela, Ventura, Manuel Tavares Almeida, Francisco Brito, Imídio Monteiro, Marina Alves Domingues Realização / Directed by Pedro Costa Imagem / Image Leonardo Simões Som / Sound João Gazua Montagem / Editing João Dias, Vítor Carvalho Montagem e Mistura de Som / Sound Editing and Mix Hugo Leitão Correcção de Cor / Colour Grading Gonçalo Ferreira Director de Produção / Production Manager João Fevereiro Produtor / Producer Abel Ribeiro Chaves Produzido por / Produced by OPTEC Financiamento / Financing ICA, Fundação Calouste Gulbenkian, Câmara Municipal de Lisboa VITALINA VARELA OPTEC FILMES VITALINA VARELA OPTEC FILMES VITALINA VARELA OPTEC FILMES VITALINA VARELA, THE FACTS Vitalina Varela had spent all her life working the land in the mountains of the Island of Santiago, Cape Verde. She was the youngest of eight brothers and sisters and she married her first love, Joaquim, a boy from the same village, of Figueira das Naus. Like most Cape Verdean young men, Joaquim left his country, in 1977, with the promise of work as a bricklayer. Like all Cape Verdean girls, Vitalina remained, waiting and longing for a happy life. With his first money saved, Joaquim buys a brick and plate shack in the neighborhood of Cova da Moura, in the suburbs of Lisbon. -
Barbara Steele
Sommario Contents GIURIE/JURIES VII PREMI/AWARDS XIV SOMMARIO DEI FILM/FILM LIST XVIII TORINO 37 1 GRAN PREMIO TORINO 2019 17 FESTA MOBILE 20 IFILM 25 CLICCA SULLE SEZIONI COLORATE PER ACCEDERE AI FILM TEONA STRUGAR MITEVSKA 50 TORINOFILMLAB 57 FILM COMMISSION TORINO PIEMONTE 64 PREMIO MARIA ADRIANA PROLO 65 SOLDATI’SDAY- IN VIAGGIO CON MARIO SOLDATI 66 CINQUE GRANDI EMOZIONI - CARLO VERDONE 75 IFILM 78 AFTER HOURS 83 IFILM 88 TFFDOC 105 INTERNAZIONALE.DOC 108 ITALIANA.DOC 116 DESIDERIO 124 L’UNICA COSA CHE HO È LA BELLEZZA DEL MONDO 131 FUORI CONCORSO 137 ITALIANA.CORTI 141 ONDE 152 IFILM 155 ARTRUM 174 SI PUÒ FARE! L’HORROR CLASSICO 1919-1969 183 IFILM 188 CINEMA D’AQCUA 206 IFILM 207 TORINO FACTORY 212 TORINO SHORT FILM MARKET 225 TORINO FILM FESTIVAL 37° TORINO FILM FESTIVAL 22-30 novembre 2019 via Montebello 15 - 10124 Torino DIRETTORE Tel: +39 011 8138811 Emanuela Martini [email protected] SEGRETARIO GENERALE www.torinofilmfest.org Bruna Ponti con la collaborazione di Anita Brazzalotto (stagista) ASSISTENTE ALLA DIREZIONE E RAPPORTI CON GLI AUTORI Mara Signori con la collaborazione di Paola Ramello COORDINAMENTO DEL PROGRAMMA E RICERCA FILM Luca Andreotti, Salvo Cutaia LOGISTICA Flavio Armone TFFDOC E ITALIANA.CORTI Davide Oberto con la collaborazione di Paola Cassano, Mazzino Montinari, Séverine Petit ORGANIZZAZIONE E RAPPORTI CON GLI AUTORI Paola Cassano, Chiara Rosaia (stagista) ONDE Massimo Causo con la collaborazione di MUSEO NAZIONALE DEL CINEMA Roberto Manassero, Grazia Paganelli COMITATO DI GESTIONE CONSULENTI PER -
Vitalina Varela Is, Like All of Costa’S Work This Millen- Lisbon to Search for Her Absent Husband Only to find Nium, an Incantation
LIVING DrawingDrawing fromfrom the real-lifereal-life experiencesexperiences ofof its lead pprotagonist,rotagonist, Pedro Costa’s luminous pportraitortrait ooff ggriefrief ‘Vita‘Vitalinalina VareVarela’la’ ffollowsollows a woman ffromrom Cape Verde who arrives in Lisbon to search for her absent husband only to find he has just died. Christopher Small talks to the director hen Catherine Breillat, president of the jury Verdeans living in the slums of Lisbon in films such as W at last August’s edition of the Locarno Film In Vanda’s Room (2000), Colossal Youth (2006) and Horse Festival, announced that Pedro Costa’s Vi- Money (2014) – is to see his movies in a new light. He talina Varela had taken the top prize, she stressed her appears to have devised a psychological framework humility in the face of a masterpiece. The jury was for himself, his cast and his crew that emulates an unanimous in their praise for a film, she said, “that ideal of the classical Hollywood era, one in which will enter the heritage of world cinema”. filmmaking is making first and foremost. About a Cape Verdean peasant who arrives in Vitalina Varela is, like all of Costa’s work this millen- Lisbon to search for her absent husband only to find nium, an incantation. It is the latest attempt by both that he died days before her arrival, Vitalina Varela filmmaker and participants – including Varela belongs in the lineage of the epic western narratives herself – to conjure the past partly through of John Ford, in which a lonely figure returns to a half-mumbled traces of memory and partly hollowed-out homestead and is confronted by living through their own reliving of it under the reminders of their previous failed attempts at form- amplifying effect of Costa’s style. -
Cinematic Cannibalism in Pedro Costa's Casa De Lava (1994)
Exchanges: The Interdisciplinary Research Journal The Camera Devoured: Cinematic Cannibalism in Pedro Costa’s Casa De Lava (1994) Thomas Moran Monash University, Australia Correspondence: [email protected] Peer review: This article has been subject to a Abstract double-blind peer review process Pedro Costa’s Casa De Lava (1994) draws on the cannibalistic potential of cinema in order to excavate the history of colonialism in Cape Verde. Cannibalism operates in a two-fold manner in Casa. Firstly, it refers to Costa’s practice of employing cinematic references in order to draw out Copyright notice: This article is issued under the otherwise concealed elements of earlier films. Secondly, it denotes an terms of the Creative aesthetic practice in which the film is cannibalised by the people and Commons Attribution geography of Cape Verde. By operating in a zone between documentary License, which permits use and redistribution of and fiction, Casa undermines the commodifying and exoticising tendencies the work provided that of cinema. Instead, by drawing on the stories of the people of Cape Verde, the original author and the film illustrates the way in which the legacy of colonialism continues to source are credited. haunt the island. Cannibal cinema in Casa is a method for making these You must give otherwise concealed histories speak, and in doing so, create new forms of appropriate credit (author attribution), cinematic invention. provide a link to the license, and indicate if Keywords: Pedro Costa; Casa De Lava; post-colonial aesthetics; changes were made. You documentary; cannibalism; Portuguese cinema may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. -
Cinema As Disquiet
Change of Focus—11 emma fajgenbaum CINEMA AS DISQUIET The Ghostly Realism of Pedro Costa he work of Portuguese director Pedro Costa proceeds by slow, measured steps. Although each film enacts a formal departure from the previous one, taken as a whole, the trajectory dis- plays an ever-distilled vision that brings into closer focus the Teveryday lives of Lisbon’s poor, while opening up immense historical vis- tas—the African diaspora, the slave trade—in which they might be set. Renowned among cinephiles for his stringent, monumental ‘Fontaínhas trilogy’, Costa remains largely unknown beyond that world. How and where should his oeuvre be situated? By what scale of values should his work be judged? Attempts to define his cinema in terms of conventional categories—geo-cultural context, subject matter and settings, cinematic modes, the personalized film language of the auteur—have a disconcert- ing tendency to destabilize the categories themselves. Context, first of all. Costa’s work might initially be situated in the reflex- ive tradition of contemporary European cinema, grounded in the critical canon-making of the new wave and neo-realist theorist-practitioners. His early career benefited in a general sense from the plentifuleec funding that helped to sustain Portuguese film schools and support a rebirth of national cinema after the 1974 Carnation Revolution. Yet Portugal, as diagnosed by Boaventura de Sousa Santos, the country’s leading social philosopher, has long existed within two zones, or time-spaces: not just a European but a ‘colonial zone’, spanning the oceans; and occu- pying peripheral and backward positions within both. -
Review: Situating a Non-Conformist Auteur
REVIEW: SITUATING A NON-CONFORMIST AUTEUR THOMAS AUSTIN University of Sussex [email protected] https://doi.org/10.34632/jsta.2020.9096 ABSTRACT This review of Nuno Barradas Jorge’s monograph The Films of Pedro Vol. 12, n.2 (2020): pp. 116-120 Costa welcomes its detailed account of hitherto neglected dimensions of Costa’s work, such as funding, relations with producers, technological aspects of production and postproduction, and the promotional labour of Costa’s media interviews. But it argues that these undoubtedly useful insights come at the expense of sustained close attention to Costa’s striking imagery and use of sound. The most glaring absences in the book are those of racial and class politics, and hence the interface between the two. Jorge’s book is an important contextual study of Costa’s oeuvre, but the immense aesthetic and political power of this filmmaking (both texts and collaborative processes of production) still eludes his grasp. Journal of Science and Technology of the Arts of the Journal of Science and Technology Keywords: Pedro Costa; Digital video; Aesthetics; Politics; Race; Class. 117 JORGE, N. B. (2020). REFOCUS: THE FILMS OF PEDRO COSTA: PRODUCING AND CONSUMING CONTEMPORARY ART CINEMA. EDINBURGH UNIVERSITY PRESS Pedro Costa is one of the most important filmmakers in contemporary European cinema. Before 2000, he directed three fiction films on 35 mm: Blood (O Sangue, 1989), Down to Earth (Casa de Lava, 1994) and Bones (Ossos, 1997). During the past two decades, he has made two documentaries shot on digital video, Where Does Your Hidden Smile Lie? (Où gît votre sourire enfoui?, 2001), about the filmmakers Jean-Marie Straub and Danièlle Huillet, and Change Nothing (Ne Change Rien, 2009), on the singer Jeanne Balibar. -
Arquivo Documental
Novas & velhas tendências no cinema português contemporâneo ARQUIVO DOCUMENTAL Relativo à visibilidade internacional da obra de Pedro Costa EM 2009, iniciativas lideradas pela Tate Modern de Londres deram uma nova visibilidade internacional aos filmes e à figura de Pedro Costa; em 2010, a Criterion editou em DVD a ―trilogia das Fontaínhas‖ e uma selacção de extras. O dossier que a seguir publicamos dá conta desse efeito de consagração, traduzido em artigos e entrevistas em revistas de referência. Artist spotlight : Pedro Costa Ryland Walker Knight, 2009 PEDRO COSTA has made digital works since the turn of the 21st Century due to a number of influences and philosophical premises. Through his 1997 film, Ossos (Bones), Costa shot on film and perfected a style of shadow and elision equal parts Bresson, Rivette, Ford and Tourneur. After working in the Lisbon slums of Fountainhas while filming Ossos, Costa realized the inefficiency and intrusion of a 35mm camera crew, no matter their limited size/footprint. He realized that to work with any grace, any honesty, any integrity, he would have to abandon the troupe of filmmaking. Thus he forsake film‘s emulsion for digital‘s arrayed pinholes of light and began to shoot his next film, No Quarto da Vanda (In Vanda’s Room), by himself with a ―consumer-grade‖ camera. This was not simply a democratic, or even simply a Marxist, impulse. It‘s more complicated, more radical. His new art—in and of the margins—gives face to the mosaic of poverty too rarely seen on cinema screens. It builds the world in blocks of time and space into a concrete object of witness. -
Acclaimed Filmmaker Pedro Costa to Visit Wexner Center in February As Part of Monthlong Retrospective of His Work
For immediate release: January 24, 2008 ACCLAIMED FILMMAKER PEDRO COSTA TO VISIT WEXNER CENTER IN FEBRUARY AS PART OF MONTHLONG RETROSPECTIVE OF HIS WORK “To watch the films of Pedro Costa is to behold a cinema at once ineffably modern yet unassailably classical, and that is but one of their glorious paradoxes.”—Scott Foundas, LA Weekly In February, the Wexner Center presents Still Lives: The Films of Pedro Costa, a monthlong, six-film retrospective of the work of the celebrated Portuguese filmmaker. Costa will visit on February 8 to introduce the local premiere of his latest film, the much-talked-about Colossal Youth (recently picked by The New York Times film critic Manohla Dargis as one of the best films of the last year). The series also includes a selection of his short films. Pictured: Pedro Costa Praised at international film festivals and in such publications as at the Wexner Center on February 8 Artforum, Film Comment, and Cahiers du Cinéma, Costa is virtually unknown to American audiences. The Palme d’Or-nominated Colossal Youth was one of the most discussed—and divisive—films at the 2006 Cannes Film Festival but brought him to the attention of a growing body of critics. Costa is mainly identified with his films depicting the lives of poor migrants in the slums of Lisbon: intimate portraits marked by precise editing and beautiful imagery. Although it may not be immediately apparent on first exposure to his rigorous and experimental filmmaking, Costa displays a deep affinity for classical filmmakers as disparate as John Ford, Robert Bresson, Charlie Chaplin, and Jean-Marie Straub and Danièle Huillet. -
6214 Barradas Jorge.Indd I 21/11/19 4:30 PM Refocus: the International Directors Series
ReFocus: The Films of Pedro Costa 6214_Barradas Jorge.indd i 21/11/19 4:30 PM ReFocus: The International Directors Series Series Editors: Robert Singer, Stefanie Van de Peer and Gary D. Rhodes ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of international film directors, from the celebrated to the ignored, in direct relationship to their respective culture—its myths, values, and historical precepts—and the broader parameters of international film history and theory. The series provides a forum for introducing a broad spectrum of directors, working in and establishing movements, trends, cycles and genres including those historical, currently popular, or emergent, and in need of critical assessment or reassessment. It ignores no director who created a historical space—either in or outside of the studio system—beginning with the origins of cinema and up to the present. ReFocus brings these film directors to a new audience of scholars and general readers of Film Studies. Titles in the series include: ReFocus: The Films of Susanne Bier Edited by Missy Molloy, Mimi Nielsen, and Meryl Shriver-Rice ReFocus: The Films of Corneliu Porumboiu Monica Filimon ReFocus: The Films of Francis Veber Keith Corson ReFocus: The Films of Andrei Tarkovsky Sergei Toymentsev ReFocus: The Films of Jia Zhangke Maureen Turim and Ying Xiao ReFocus: The Films of Xavier Dolan Edited by Andrée Lafontaine ReFocus: The Films of Pedro Costa: Producing and Consuming Contemporary Art Cinema Nuno Barradas Jorge edinburghuniversitypress.com/series/refocint 6214_Barradas Jorge.indd ii 21/11/19 4:30 PM ReFocus: The Films of Pedro Costa Producing and Consuming Contemporary Art Cinema Nuno Barradas Jorge 6214_Barradas Jorge.indd iii 21/11/19 4:30 PM Edinburgh University Press is one of the leading university presses in the UK.