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None of those scandal-mongering moments could match the sheer disorienting power of the sudden shot of a painting—Rubens’s Flight into Egypt, hanging in Lisbon’s Museu Calouste Gulbenkian—in Pedro Costa’s Juventude em marcha (Colossal Youth). Interpolated late into the film’s seemingly endless succession of conversations declaimed in dim, decrepit rooms, the startling appearance of this Dutch Baroque masterpiece in its hushed, luxe setting packed a visual and tonal wallop—shot ...
TRYING TO RATIONALIZE Pedro Costa’s Horse Money in terms of a synopsis—the film is mostly an achronological assembly of claustrophobic tableaux with one or two speaking characters—is ultimately a fool’s game, but connecting it to recent Portuguese history is a necessity. The April 25, 1974, coup known today as the Carnation Revolution, which was led by the left-wing Armed Forces Movement (MFA) and ended the long-standing Estado Novo dictatorship, took place when Costa was in his ...
Pedro Costa made three films—Ossos [1997], In Vanda’s Room [2000], and Colossal Youth [2006]—concerning the fate of a group of marginalized drug addicts in a slum in Lisbon. In Vanda’s Room bulldozers can be heard throughout the film demolishing the neighborhood.
A vital link across generations, still largely unknown outside Portugal, Reis got his start working with Oliveira and the Cinema Novo filmmakers of the 1960s, and from 1977 until his death in 1991 he taught at Lisbon’s Escola Superior de Teatro e Cinema, where his students included Pedro Costa and João Pedro Rodrigues.
Anderson’s Sacher-torte tale of an alpine-hotel concierge caught in a deadly feud over a dowager’s will in a fictional war-torn Mitteleuropean country in the early ’30s assigns a period-appropriate ratio to each of the film’s temporal settings: 1.85 for 1985 to the present; Anderson’s favorite, 2.35, for the ’60s; and 1.37 for the ...
Oct 19, 2023 · SLANT. AN OPEN LETTER FROM THE ART COMMUNITY TO CULTURAL ORGANIZATIONS. By the undersigned. October 19, 2023 5:29 pm. Emily Jacir, Memorial to 418 Palestinian Villages Which Were Destroyed, Depopulated, and Occupied by Israel in 1948, 2021, refugee tent, embroidery thread, record book. The following letter reflects the views of the undersigned ...
Jan 13, 2014 · Pedro Vélez. View of “Pedro Vélez: #ProtestSigns,” 2014. Artist and critic Pedro Vélez is known for his “protests”—pithy, eyebrow-raising language running across photographic portraits of friends and colleagues. He has worked consistently to bring national attention to arts communities outside the art-world centers, and these ...
In 1966, when Pedro Perez was 15, he and his family moved from Cuba to Florida. Unlike many exiles and refugees, he chose not to assimilate, though not out of nostalgia for his past. He studied art in college and graduate school and pursued a career as an artist. Although his work has gone through several phases since he began exhibiting in New ...
WILL-O’-THE-WISP (João Pedro Rodrigues) A racially risky, raunchy Portuguese musical about class and pyromania that will light you on fire. Facials! Fake dicks! A real arty head-scratcher of a film that makes Titane seem tame. João Pedro Rodrigues, Fogo-Fátuo (Will-o’-the-Wisp), 2022, 4K video, color, sound, 67 minutes. From left ...
By Dennis Lim. THE MOVIES OF JOÃO PEDRO RODRIGUES might be seen as attempts to film the unfilmable. Their ineffable subject is desire in all its guises (and disguises), and their modus operandi is to follow that desire to its logical—or illogical—ends. In each of his three features— O Fantasma (2000), Two Drifters (2005), and To Die Like ...
