Colossal Youth
Wednesday, October 29, 2008
Modyfikacja Aparatu W Noki 5800
FORWARD YOUTH Pedro Costa
interview with Pedro Costa ( Click on the documents)
Pedro Costa memory continues to burn a dark and hard to the extreme periphery. Still and beautiful in its management, a vision of film exploring the nooks and crannies, holes of this fringe poor, black and cameo that our companies generate in the shade. A half-dead hand, rarely if ever photographed such as noble and worthy, even implacable in its slowness.
If one follows the beginning, it struggles to understand, we must quickly give up our grills to press both fiction bodies, voices, faces all merge in the shade. Deep shadow devouring almost the entire frame, like the cinema Costa strange object of terror in the running game representation of the social.
Out of Real Non-fiction. The Abyss.
Unable to speak of social realism, as it first image, the context that matters here. To see this black man in the middle of the concrete canvas stretched behind him, we find immediately the art of filmmaker Costa. The extreme composition frames, the shadows, some visual asceticism, because they refuse confrontation content, refer to as Mannerism. Costa takes his film to scrap at the bottom of a deadlock, the thread of a black blade and white. Humor
plans without sequence.
Man enters a zombie in the white pieces, quiet and empty, too small and too large. There is always a problem in Costa extreme, even if the humor attempts here a unique entry. The unusual two-man match on a black stage set reversed with walls covered in white. Imbalance funny, where it is unclear when to laugh, or even if it is allowed. The comic effect of Warhol Eat. Endless footage, where the viewer almost joined Ventura, half-alive, half dead, not knowing choose between formal beauty and fatigue of many waters.
Within this framework all the black remains a thin line of light. Hardly enough to illuminate a corner table, a bit of face, bright eyes, the detail of a painting. In the shadows, a sofa, chair percent red. Costa filming poverty through its pores, between generations. Ventura is the first Cape Verdean immigrants came to Portugal with a dream that will end up on the floor and badly paid.
Compliance by terror.
Ventura, for its opacity, is a real character. Uneventful, without adventure. Be a flashing in the dark, silent witness of the world around him. Not show here. Nothing to do their teeth into a real hard to nail. Nudity a little frightening that the mise en scene, with its dazzling, his fugitive pearls, dresses with extreme rigor. Pedro Costa refuses mounting as we forge an ethic. It is forbidden to do by this show with the suffering, poverty, to bring more film above. This shows that these lives, it's time to post.
An aristocracy of slowness.
course plans are inordinately long. Slowness in screen repels and drives away. The look of Costa actually raises the question. Why are we more capable of accepting this slow? What this boomerang back in a still picture is it so disturbing to the viewer, but because it imposes a duty, that of choosing his camp, to position themselves. Opposite that of seeing something that bruises.
This world records after the end of myths.
Ventura visitor misfortune, continues to seek meeting, when the others are hiding, locked up, they look down. He alone is the light in his gait, his almost poses, nobility, aristocracy peculiar to the staging of Costa.
Nobility and poverty without fiction gift.
A table, a candlestick, a globe: the Marquis arrives. Filming is therefore the misery for the Portuguese filmmaker to create another level of scrutiny. The reason for the reversal is at work everywhere. In light and color first, the darkest black to white the brighter. The social ladder then returning the lowest hook up. Even broken, poor sleeping on the floor, Ventura agrees to pay for his daughter Vanda and their trip to Fatima. A cinema for the human, a man on the ground became the prince turn a fixed plan.
Aristocrat almost dead just like Paulo Ventura is nothing less than a ghost. A man visiting other in search of what will never come back - the life before. Crossing as a character in the shadows of museums, slums, social housing, which nobody wants to see is, without fiction gift. The ruin, misery, the emptiness of some lapse.
Full natural light, the darker to black, Costa n'instrumentalise not. Rather than using these four deaths from poverty, he reveals his direction while giving them a nobility, a dignity rare. Movies minority? Duly noted. Everyone will take his cuts, but the experience is great, even though some ash stuck to the bottom of the eye.
Stéphane Mas (extract from article)
France has discovered Pedro Costa in the disorder. Presented in many festivals, his first feature film (Blood, 1989) has waited ten years for commercial distribution. And the second (Casa de Lava, 1995) has gone relatively unnoticed. It was therefore necessary to wait for the release of Ossos (1997) to be truly recognized as one of the most distinctive filmmakers of his generation, reduced to its membership in the "Portuguese cinema", the ultimate avant-garde European industry found, only composed cinematography artists, not assembled under a common label. Since Ossos, Costa has made two new films, two documentaries. The House of Vanda (2000), back in the neighborhood of Cape Verde Fontainhas in Lisbon where he had already turned the previous film, and a portrait of Daniele Huillet and Jean-Marie Straub for the television series Janine Bazin and Andre S. Labarthe, Movies, of our time. While The House of Vanda still awaiting a theatrical release, after the last event of the Locarno Film Festival, a tribute to La Rochelle provides an opportunity to assess the progress made by the filmmaker, whose work in progress requires more than another vision orderly, chronological, Blood at the Chamber of Vanda, to realize how Costa walks to the essentials, how it disposes of its dead skin like a snake, for lead to a radically new form, a proposed film with incredible power.
Both pure object of fascination, a work of art has a very hypnotic power, and materialistic odyssey where we are constantly bumping into a world with a hardness of iron, Ossos called his documentary during his objectified reflection. This will be Vanda's Room, with Vanda Duarte and her sister Zita, already present in Ossos here besieged in their neighborhood is threatened with destruction, repeated for two forty projection gestures and words of their survival addicts. It is essential to see these two films to capture the artistic gesture Costa, its dialectic of filmmaker torn between his artist's temperament and his beautiful sake of concretion. It is by dint of wanting objective and impersonal as the film becomes dreamlike, and the perfect plastic composition of each plan is put in tension with the look rough around the edges of documentary making. The device and the film material object and respond to the House of the completion of Vanda provisional approach film by Pedro Costa, an artist whose mastery goes out the window when it tends to make it out the door , whose minimalism apparent treasure trove of vitality. In addition to being a great movie, The House Vanda is the demonstration that the appearance of the accidental can happen only in a strictly concerted lesson straubienne if any.
Frederic Bonnaud
In the room of Wanda
To further
Pedro Costa films Jean-Marie Straub and Daniele Huillet on editing their film SICILIA
Subscribe to:
Post Comments (Atom)
0 comments:
Post a Comment