241 Great Directors: Pedro Costa

“The money thing is important. It runs through the film. It’s not a metaphor. Ventura talks about it all the time, his pension, his salary, his wages. He’s very dependent on money. Because you think a lot about money when you don’t have it. So the film is also very afraid of running out of money, all of the time. And Ventura, he’s always afraid of losing the contract. Like myself, losing the contract for me is to lose the films, my contract with the film and the people involved with it. And that contract has to be, of course, morally decent. If not, the film will be indecent, like 90 percent of the films today.”

What Got This Director Here?
: His chronicles of poverty.

My Favorite Past Experience Was…: N/A

What Did I Watch: Blood.

Where Does He Fit: Blood is my first Costa film, and I can already tell our relationship is going to be a bit rocky. The compositions in this are maybe some of the most stunning uses of black and white that I’ve seen since Night of the Hunter, but the plot relating to a father and his children is barely there and the shots seem to actively avoid relationships with one another beyond some uses of the same actors and locations. It’s certainly revolutionary stuff, but I think my conventionality means I might have to really make an effort for future installments in his attempts to slow everything down.


Most Valuable Asset: Slow, slow misery.
Most Excited For: In Vanda’s Room/Colossal Youth.
Did They Deserve a Spot?: Undecided. This is talented and wearying.

Coming Up Next: Paranoiac fallen from grace, Alan J. Pakula.


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