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Letters From Fontainhas: Three Films By Pedro Costa - The Criterion Collection DVD
SKU ID #324172
- Technical Specs
- Format: DVD
- Rating: Not Rated
- Number of Discs: 4
- Run Time: 425 Minutes
- Region: 1
- Aspect Ratio: Widescreen / Fullscreen
- Language: Portuguese
- Studio: Criterion
- DVD Release Date: March 30, 2010
- Packaging: Keep Case
- Subtitles: English
- Audio: PORTUGUESE: Dolby Digital Stereo
- Color: Color
New video conversations between Costa and filmmaker Jean-Pierre Gorin
New audio commentary for In Vanda’s Room featuring Costa and Gorin
New selected-scene audio commentary for Colossal Youth
Video interviews with critic João Bénard da Costa and cinematographer Emmanuel Machuel
New video essay by artist Jeff Wall
All Blossoms Again, a feature-length documentary on Costa
Tarrafal and The Rabbit Hunters, two short films by Costa
Little Boy Male, Little Girl Female, a video installation piece by Costa
Galleries of photos by Mariana Viegas and Richard Dumas
Theatrical trailers for In Vanda’s Room and Colossal Youth
Pllus: A booklet featuring essays by critics Cyril Neyrat, Ricardo Matos Cabo, Luc Sante, Thom Andersen, and Mark Peranson, as well as a reprint by Bernard Eisenschitz
The first film 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 suicidal teenage girl gives birth, she misguidedly entrusts her baby's safety to the troubled, deadbeat father, whose violent actions take the viewer on a tour of the foreboding, crumbling shantytown in which they live. With its reserved, shadowy cinematography by Emmanuel Machuel (who collaborated with Bresson on L'argent), Ossos is a haunting look at a devastated community.
In Vanda's Room
For the extraordinarily beautiful second film in his Fontainhas trilogy, Pedro Costa jettisoned his earlier films' larger crews to burrow even deeper into the Lisbon ghetto and the lives of its desperate inhabitants. With the intimate feel of a documentary and the texture of a Vermeer painting, In Vanda's Room takes an unflinching, fragmentary look at a handful of self-destructive, marginalized people, but is centered around the heroin-addicted Vanda Duarte. Costa presents the daily routines of Vanda and her neighbors with disarming matter-of-factness, and through his camera, individuals whom many would deem disposable become vivid and vital. This was Costa's first use of digital video, and the evocative images he created remain some of the medium's most astonishing.
Many of the lost souls of Ossos and In Vanda's Room return in the spectral landscape of Colossal Youth, which brings to Pedro Costa's Fontain has films a new theatrical, tragic grandeur. This time, Costa focuses on Ventura, an elderly immigrant from Cape Verde living in a low-cost housing complex in Lisbon, who has been abandoned by his wife and spends his days visiting his neighbors, whom he considers his "children." What results is a form of ghost story, a tale of derelict, dispossessed people living in the past and present at the same time, filmed by Costa with empathy and startling radiance.