Many of the lost souls of Ossos and In Vanda’s Room return in the spectral landscape of Colossal Youth, which brings to Pedro Costa’s Fontainhas films a new theatrical, tragic grandeur. This time, Costa focuses on Ventura, an elderly immigrant from Cape Verde living in a low-cost housing complex in Lisbon, who has been abandoned by his wife and spends his days visiting his neighbors, whom he considers his “children.” What results is a form of ghost story, a tale of derelict, dispossessed people living in the past and present at the same time, filmed by Costa with empathy and startling radiance. —The Criterion Collection
Pedro Costa (born 1959) is a Portuguese film director. He is acclaimed for using his ascetic style to depict the marginalised people in desperate living situations. Many of his films are set in a district of Lisbon inhabited by the socially disadvantaged and shot in a natural and low-key way that makes them resemble documentaries. While studying history at University of Lisbon, Costa switched to film courses at School of Theatre and Cinema (Escola Superior de Teatro e Cinema). After working as an assistant director to several directors such as Jorge Silva Melo and João Botelho, he made a first feature film O Sangue (The Blood) in 1989. He collected the France Culture Award (Foreign Cineaste of the Year) at 2002 Cannes International Film Festival for directing the film No Quarto da Vanda (In Vanda’s Room). Juventude em Marcha (Youth on the March, known as “Colossal Youth” in Anglophone countries, and “En avant, jeunesse” – “Onward, Youth” – in Francophone countries) was selected for… read more
Following Costa’s narrative construction in Ossos and its rawer distillation in Vanda’s Room, Colossal Youth brings the trio full circle by the end of the portrait. While prolonging the asceticism it shares with Vanda, channelled this time through Ventura, the film pervades a more deep-rooted sense of resignation and languish - if not nihilism - than ever before, preserved intact in its squalidly pristine lens and dispassionate exchanges. Stunning quotidian.
even when on dope, a woman is still a woman: she wants new furniture, small white tables with panes of striped glass :)). or is it meta-womanhood - she is aware of this cliche in female behaviour and uses it with her husband, to enhance the credibility of her claims, to show him she is back to normal female whims and to fool him into pawning or selling the old furniture. but not to get new one, normally, haha.
The Portuguese maestro talks digital, film and DCP, early influences and teachers, David Fincher and filmmaking now.
A chair from Pedro Costa's Colossal Youth (2006); cinematography by Pedro Costa and Leonardo Simões.
"For a small group of diligent cinephiles, Criterion's Letters From Fontainhas: Three Films by Pedro Costa is one of the most anticipated
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The Pedro Costa retrospective currently underway at the Tate Modern (through October 4) occasions two pieces in the new issue of Sight &
Neste filme fundamental de Pedro Costa, a memória do cinema habita em cada plano. Particularmente a memória do cinema clássico, particularmente a memória de “Ford, Ford e Ford” (os três cineastas favoritos… read review
Epic shots encapsulate this picture like a fine crystal prism. The way Pedro Costa films ‘Juventude em Marcha’ is brave, unusual, angular, and frequently gnarly. While his characters sit and… read review