Horse Money (2014) - News Poster

(2014)

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Vitalina Varela comes out of the darkness to win the prestigious Golden Leopard at Locarno - Locarno 2019 – Competition/Filmmakers of the Present/Signs of Life/Piazza Grande/Moving Ahead/Awards

Perhaps not so unexpectedly, the rigour and tenacity of Portuguese filmmaker Pedro Costa seduced the jury of the International Competition. A regular of the Locarno Film Festival, which has always reserved a prominent place for him (his previous film Horse Money won the Best Director award in Locarno in 2014), Portuguese director Pedro Costa this year wins two awards with his superb and uncompromisingly bitter Vitalina Varela: the Golden Leopard, the supreme recognition of the festival, and the Leopard for Best Actress, given to Vitalina Varela, the lead of the film. An acting award which the jury of the International Competition, headed by Catherine Breillat, gave to the woman who, with her person, her story, and her tormented physicality gave body to Pedro Costa’s film. Beyond the hermeticism of a demanding and aesthetically grandiose cinema, which recalls masters of supernatural horror such as David Lynch (and his Elephant Man), Vitalina.
See full article at Cineuropa »

Locarno Review: ‘Vitalina Varela’ is One of Pedro Costa’s Most Stunning Films

A dark back-alley drowned in shadow; towering concrete walls on either side; on the top right a row of headstones overlook; the glimmer of a walking stick emerges in the distance, and then a funeral procession. 15 minutes later a women disembarks from an airplane and is greeted not by family but by the airport’s cleaning staff. “There is nothing for you in Portugal, Vitalina,” they say.

Welcome—or perhaps welcome back—to the world of Pedro Costa, the austere Portuguese director behind Colossal Youth (2006), In Vanda’s Room (2000), and other haunting works with which to grapple. His latest is titled Vitalina Varela and picks up where last year’s Horse Money left off, focusing on the eponymous character who first appeared as a supporting player in Money while also persisting in Costa’s unmistakable style: slow static shots set up like minimalist plays; stark white lighting from far above,
See full article at The Film Stage »

‘Vitalina Varela’ Review: Another Ravishing, Masterful Vision From Pedro Costa

‘Vitalina Varela’ Review: Another Ravishing, Masterful Vision From Pedro Costa
The mystery and wonder of Pedro Costa’s filmmaking defies any specific category other than his own unique blend. The Portuguese director conjures dark, dreamlike visions of post-colonial neglect and yearning that hover somewhere between fantasy and neorealism, horror and melodrama, spirituality and desperation. “Vitalina Varela,” Costa’s fifth journey into the shantytown Fontainhas outside of Lisbon, once again showcases Costa’s masterful ability to mine cinematic poetry from a unique environment and the mournful figures who wander through its murky depths.

The Costa Expanded Universe stems back to 2006’s “Colossal Youth,” when Costa first began exploring the Cape Verdean residents of Fontainhas by casting members of the immigrant community as themselves. Costa’s ravishing blend of light and shadow captures the characters as they wander the claustrophobic interiors of their ramshackle homes and muse about their wandering lives. Costa’s dour, humorless aesthetic takes time to settle in and
See full article at Indiewire »

Kent Jones on ‘Diane,’ the Misconceptions of Making a Film, Criticism, and His Female-Led Cast

Talking to directors, there’s a common interviewing misconception to overcomplicate the filmmaking process, to assume that the process is the execution of reams of premeditated notes as opposed to felt out in the moment. And while there are certainly filmmakers whose reputation of procedural perfectionism precedes them, more often than not, filmmaking is a matter of doing rather than the thinking.

And yet, it’s a somewhat understandable assumption to make with Diane, the narrative feature debut of prolific film critic and programmer Kent Jones. Best described as a character study with a metaphysical lean, the autumnal Diane’s life is defined by routines; regular reminiscing breakfasts with her dwindling friends, visits to a coterie of relatives and grandchildren, check-ins on her in-and-out of recovery son, Brian (Jake Lacy), and volunteer shifts at the local soup kitchen.

Led by the great character actress Mary Kay Place, her performance is
See full article at The Film Stage »

Top 150 Most Anticipated Foreign Films of 2019: #39. Vitalina Varela – Pedro Costa

Vitalina Varela

Portuguese director returns to Fontainhas for his seventh feature, Vitalina Varela (which has been previously listed as the title Daughters of Fire). Starring the actress for which the film is named, she is joined by two other actresses from Horse Money (2014), Costa’s last feature, including Ventura and Isabel Cordoso (who was also in his 2006 film Colossal Youth). The project also influenced a recent art installation from Costa. Known for filming with non-professionals who are usually playing variations of themselves, while shooting on a micro budget in digital, Costa is Portugal’s premiere art-house auteur, ever since his 1989 debut Blood.…
See full article at IONCINEMA.com »

Portuguese Cinema Showcased in Acid Trip to Cannes

  • Variety
On May 14, Acid Trip #2, an initiative of the Association for Independent Film Distribution, is dedicated to Portuguese cinema. It will screen three films selected by the Portuguese Directors’ Association (Apr) – Pedro Cabeleira’s “Damned Summer”, Teresa Villaverde’s “Colo” and Leonor Teles’ “Terra Franca.”

The Apr’s note accompanying the selection stated that Portugal’s cinema is “persistent and resilient, and despite production difficulties, it invents its own conditions to continue to exist and create.”

Portuguese films in at Cannes this year include Un Certain Regard-player “The Dead and the Others” by João Salaviza and Renée Nader Messora, acquired for sales by Paris-based Luxbox; Carlos Diegues’ “The Great Mystical Circus”, sold by Latido Films; soccer-themed “Diamantino”, by Gabriel Abrantes and Daniel Schmidt, which could be a break out in Critics’ Week; and short film “Amor, Avenidas Novas”, by Duarte Coimbra, again playing in Critics’ Week; and Terry Gilliam’s closing pic,
See full article at Variety »

Trailer for ‘Casa de Lava’ Restoration Plunges Us Into Pedro Costa’s Dark, Mysterious World

Before diving deep into the slums of Fontainhas for his epochal trilogy and its follow-up, Horse Money, Pedro Costa applied his lens in a significantly different way — though no less impressively and, I do not think it’s at all unfair to say, far more accessibly. To my mind, the best display of his early talents is 1994’s Casa de Lava, a mystery of mistaken (or forged) identity — and a reworking of Jacques Tourneur’s classic I Walked with a Zombie — grounded in Portugal’s stunning Cape Verde islands. It’s understandable that something from a filmmaker with Costa’s marginalized status would go so long without a U.S. release, yet still disappointing in sight of the entrancing thing itself.

That will change this fall as Grasshopper Film release Casa de Lava on Blu-ray and DVD, in advance of which there is a brief, appropriately enigmatic teaser that gives
See full article at The Film Stage »

Off The Shelf – Episode 92 – Blu-rays for the Week of May 31st 2016

In this episode of Off The Shelf, Ryan and Brian take a look at the new DVD and Blu-ray releases for Tuesday, May 31st 2016.

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Follow-Up Bill and Ted Universe News 88Films: IndieGoGo Scream Factory: The Thing Warner Archive: June Titles Olive Films: August Titles Criterion: Valley of the Dolls Kino Lorber: Daisy Kenyon, Bad Girl, Biggles: Adventures in Time Links to Amazon Blood Bath (Arrow) Christina (Intervision) City of Women (Cohen) Gods Of Egypt (Lionsgate) Horse Money (Cinema Guild) Human Tornado (Vinegar Syndrome) Pride + Prejudice + Zombies Psychic Killer (Vinegar Syndrome) The Terror (Film Detective) Venom (Blue Underground) Wim Wenders: The Road Trilogy (The Criterion Collection)

Also: L’avventura (Criterion UK), The Uninvited (Wild Side Video France)

Credits Ryan Gallagher (Twitter / Website / Wish List) Brian Saur (Twitter / Website / Instagram / Wish List)

Music for the show is from Fatboy Roberts’ Geek Remixed project.
See full article at CriterionCast »

Recommended Discs & Deals: Wim Wenders, ‘City of Women,’ ‘Horse Money,’ and More

Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.

City of Women (Federico Fellini)

Federico Fellini‘s epic 1980 fantasia introduced the start of the Maestro’s delirious late period. A surrealist tour-de-force filmed on soundstages and locations alike, and overflowing with the same sensory (and sensual) invention heretofore found only in the classic movie-musicals (and Fellini’s own oeuvre), La città delle donne [City of Women] taps into the era’s restless youth culture, coalescing into nothing less than Fellini’s post-punk opus. Marcello Mastroianni appears as Fellini’s alter
See full article at The Film Stage »

Weekly Rushes. 13 April 2016

  • MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSThe great avant-garde filmmaker and musician Tony Conrad has died at the age of 76.If you're sending mail in Austria, now you can creep your family and friends out with an image of austere art-house task-master Michael Haneke on your stamps.A terrific-looking new book "by" Jean-Luc Godard is out via Contra Mundum Press: Phrases features the texts contained within several of Godard's films, including Germany Year 90 Nine Zero, Forever Mozart and In Praise of Love. After his feature documentary Junun and music video for Joanna Newsom, Paul Thomas Anderson is returning to the music world, having reportedly shot a video for Radiohead.Recommended VIEWINGFilmmaker (Traveling Light, Here's to the Future!) and Notebook contributor Gina Telaroli has shared online an exquisite new video work, Starting Sketches: Theresa and Jeanne.
See full article at MUBI »

DVD Review: Horse Money

  • CineVue
★★★★☆ Horse Money is one of those films that makes more sense after watching than during. Pedro Costa's latest feature has no conventional narrative to speak of, but follows ghostly presence Ventura (an immigrant from Cape Verde living in Lisbon playing himself) as he wanders - alone or accompanied by mute, white coated doctors - through dark spaces at times resembling abandoned hospital corridors, at other times catacombs or ancient caverns. His hands tremble incessantly, perhaps because of a nervous disorder he may or may not have. Ventura is a man of few words, but his weary expression and shuffling gait speak volumes about the life he has lived.
See full article at CineVue »

Haynes, Hhh, George Miller, Sean Baker & Bruno Dumont Lead the 2016 Ics Award Noms

The more “international” body of tastemaker critics have anointed Todd HaynesCarol, Hou Hsaio-Hsien’s The Assassin, George Miller’s Mad Max, Sean Baker’s Tangerine and Bruno Dumont’s Li’l Quinquin as the better film items for 2015 and top vote getters with the most noms for 2016 Ics Awards. Winners of the 13th Ics Awards will be announced on February 21, 2016. Here are the noms and all the categories.

Picture

• 45 Years

Arabian Nights

• The Assassin

Carol

Clouds of Sils Maria

The Duke of Burgundy

Inside Out

• Li’l Quinquin

Mad Max: Fury Road

• A Pigeon Sat on a Branch Reflecting on Existence

Tangerine

Director

Sean BakerTangerine

Bruno Dumont – Li’l Quinquin

Todd HaynesCarol

• Hou Hsaio-Hsien – The Assassin

George MillerMad Max: Fury Road

Film Not In The English Language

Amour Fou

Arabian Nights

• The Assassin

Hard to Be a God

Jauja

• La Sapienza

• Li’l Quinquin

• Phoenix

• A
See full article at IONCINEMA.com »

No Fear: The Year’S Best Movies

This is definitely the time of year when film critic types (I’m sure you know who I mean) spend an inordinate amount of time leading up to awards season—and it all leads up to awards season, don’t it?—compiling lists and trying to convince anyone who will listen that it was a shitty year at the movies for anyone who liked something other than what they saw and liked. And ‘tis the season, or at least ‘thas (?) been in the recent past, for that most beloved of academic parlor games, bemoaning the death of cinema, which, if the sackcloth-and-ashes-clad among us are to be believed, is an increasingly detached and irrelevant art form in the process of being smothered under the wet, steaming blanket of American blockbuster-it is. And it’s going all malnourished from the siphoning off of all the talent back to TV, which, as everyone knows,
See full article at Trailers from Hell »

Notebook's 8th Writers Poll: Fantasy Double Features of 2015

  • MUBI
How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2015?Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2015—in theatres or at a festival—and creatively pair it with an old film they also saw in 2015 to create a unique double feature.All the contributors were given the option to write some text explaining their 2015 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch
See full article at MUBI »

The Best Movie Posters of 2015

“Don’t Judge a Book by Its Cover” is a proverb whose simple existence proves the fact impressionable souls will do so without fail. This monthly column (with a special year-end retrospective today) focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill seats. Oftentimes they fail miserably.

It hasn’t been a great year for domestic movie poster design. Yes there are always a handful to admire each month, but that’s not saying much when you’re comparing them to absolute dreck.

Whereas most years I’m collecting 15-20 images and find myself exasperated trying to cull them down into a Top Ten, 2015 had me struggling to fill the #10 slot. Only maybe three or four were “musts” and the rest ended up waging a war of attrition to
See full article at The Film Stage »

New to Streaming: ‘Sicario,’ ‘The Martian,’ ‘The Walk,’ ‘Sleeping With Other People,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit the interwebs. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon Instant Video, and more (note: U.S. only). Check out our rundown for this week’s selections below.

Everest (Baltasar Kormákur)

Curtain raisers seldom come more bombastic than the last two films to open the Venice Film Festival, Alfonso Cuarón’s Gravity in 2013, and Alejandro González Iñárritu’s Birdman last year. Attempting to maintain that level of volume this year on the Lido is Icelandic director Baltasar Kormákur’s Everest, a grand-scale, by-the-numbers 3D epic about the doomed 1996 expedition to climb the titular peak.
See full article at The Film Stage »

Another Big Win for "Carol"

Todd Haynes' "Carol" has been receiving a lot of love from various critics groups and this time, it topped the ranking of the year's best films at the annual Film Comment magazine poll!

Take a look at the complete list below and then wonder, didn't these critics see "Star Wars: The Force Awakens?"

Film Comment's Top 20 Films of 2015

1. "Carol"

2. "The Assassin"

3. "Mad Max: Fury Road"

4. "Clouds of Sils Maria"

5. "Arabian Nights"

6. "Timbuktu"

7. "Spotlight"

8. "Phoenix"

9. "Inside Out"

10. "The Look of Silence"

11. "Hard to Be a God"

12. "Anomalisa"

13. "In Jackson Heights"

14. "Son of Saul"

15. "Horse Money"

16. "Jauja"

17. "Tangerine"

18. "Brooklyn"

19. "The Diary of a Teenage Girl"

20. "Bridge of Spies"

Film Comment's Best Undistributed Films of 2015

1. "Right Here, Right Now"

2. "Chevalier"

3. "The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers"

4. "The Academy of Muses"

5. "Don't Blink . Robert Frank"

6. "Cosmos"

7. "Journey to the Shore"

8. "Happy Hour"

9. "Lost and
See full article at Manny the Movie Guy »

‘Carol,’ ‘The Asssassin,’ and ‘Fury Road’ Top Film Comment’s End-of-Year Poll

At the halfway point of December, there are, to put it lightly, many end-of-year lists hitting the web, and few publications have round-ups as consistently excellent as Film Comment‘s. (“Consistently excellent” translates to “aligns with my specific taste,” of course.) Their 20-film selection represents the year rather nicely, from the widely seen and frequently listed (e.g. Mad Max: Fury Road and Inside Out) landing among some of our limited-release favorites, including Timbuktu, The Assassin, and Jauja. As editor Gavin Smith says, “That balance, which happens to be encapsulated in the top five in micro form, feels about right for the agenda of this magazine, which, since the very beginning, has been to champion the best in cinema wherever it hails from, all creatures great and small. Since we managed to run features on 11 of these and sung the praises of another five, it’s a pleasure to close
See full article at The Film Stage »

The Best Movie Posters of 2015

  • MUBI
1. The AssassinThough it doesn’t always follow, the most beautiful film of the year should have the most beautiful poster, and Erik Buckham does Hou Hsiao-hsien right with this gorgeous piece. What looks at first like a combination of photography and illustration is in fact entirely taken from images from the film. Buckham told me “I didn’t want to use any imagery in the poster that did not come from the film itself, so everything you see is taken from screen grabs and some on-set photography.” What I always thought were stylized clouds surrounding Shu Qi are actually elements from an embossed picture of a rooster on a lacquered vase or some similar object. As Buckham confided, “I liked the look of the lines so I cropped in super close and played around with lighting and layer effects to blend it in with the background imagery. It was
See full article at MUBI »
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