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Letters From Fontainhas: Three Films By Pedro
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(DVD - Code 1)
(US-Import)
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One of the most important artists on the international film scene today, Portuguese director Pedro Costa has been steadily building an impressive body of work since the late eighties. And these are the three films that put him on the map: spare, painterly portraits of battered, Iargely immigrant lives in the slums of Fontainhas, a neighborhood on the outskirts of Lisbon. Hypnotic, controIled works, Ossos, ln Vanda's Room, and CoIossal Youth
confirm Costa as a provocative new cinematic poet, one who Iocates beauty in the most unlikeIy of places.
Ossos
The first fiIm in Pedro Costa's transformative trilogy about
Fontainhas, an impoverished quarter of Lisbon, Ossos is a tale of young lives torn apart by desperation. After a suicidaI teenage girl gives birth, she misguidedIy entrusts her baby's safety to the
troubled, deadbeat father, whose vioIent actions take the viewer
on a tour of the foreboding, crumbIing shantytown in which they
Iive. With its reserved, shadowy cinematography by Emmanuel
Machuel (who colIaborated with Bresson on L'argent), Ossos is a haunting Iook at a devastated community.
In Vanda's Room
For the extraordinarily beautiful second fiIm in his Fontainhas trilogy, Pedro Costa jettisoned his earlier fiIms' larger crews to burrow even deeper into the Lisbon ghetto and the lives of its desperate inhabitants. With the intimate feeI of a documentary and the texture of a Vermeer painting, ln Vanda's Room takes an unfIinching, fragmentary Iook at a handfuI of seIf-destructive, marginalized people, but is centered around the heroin-addicted Vanda Duarte. Costa presents the daiIy routines of Vanda and her neighbors with disarming matter-of-factness, and through his camera, individuals whom many would deem disposable become vivid and vitaI. This was Costa's first use of digitaI video, and the evocative images he created remain some of the medium's most astonishing.
CoIossaI Youth
Many of the lost souls of Ossos and In Vanda's Room return in the spectral Iandscape of CoIossal Youth, which brings to Pedro Costa's Fontain has fiIms a new theatricaI, tragic grandeur. This time, Costa focuses on Ventura, an elderly immigrant from Cape Verde Iiving in a Iow-cost housing compIex in Lisbon, who has been abandoned by his wife and spends his days visiting his neighbors, whom he considers his "children." What resuIts is a form of ghost story, a tale of derelict, dispossessed peopIe Iiving in the past and present at the same time, fiImed by Costa with empathy and startIing radiance. |
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i.d.R. innert 7-21 Tagen versandfertig
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