Criterion Sunday 511: Juventude em Marcha (Colossal Youth, 2006)

I’m not sure is this is the best of Pedro Costa’s three films grouped together as the “Fontainhas trilogy” after the Lisbon slum/shanty town where they take place, but after spending so much time with these characters in this place, its quiet reflectiveness feels the richest, perhaps because of that time spent. Costa too has developed his video aesthetic that he began with In Vanda’s Room, recapturing some of the painterly contrast that was at play in the first of the three (Ossos) but without the conventions of the narrative. The characters are still slouching around going nowhere, interspersed with the tall and elegant elderly man Ventura narrating a letter to someone long gone it seems. and there’s not much in the way of plot to speak of, but it swaps out the crumbling buildings of the previous films for the new apartments built in their place, which have a sort of antiseptic quality, though there’s still plenty enough places for Costa to find his crepuscular shadows. I can’t really explain too much why I like it, but it’s an experience that just needs to sort of wash over you, and at that level I find it rewarding.


FILM REVIEW: Criterion Collection
Director/Writer Pedro Costa; Cinematographers Costa and Leonardo Simões; Starring Ventura, Vanda Duarte; Length 156 minutes.

Seen at home (DVD), Wellington, Saturday 12 March 2022 (and I’m fairly sure I saw it a cinema in London, probably the ICA, back in around 2007, but I don’t have a record of it).

Criterion Sunday 510: No Quarto da Vanda (In Vanda’s Room, 2000)

As a film this is certainly a follow-up to Pedro Costa’s 1997 film Ossos, sharing a lot of the same characters (or maybe they’re real life figures: the term “docufiction” is applied and it’s impossible to know where the boundaries lie), and stylistically we have all these dark, derelict spaces beautifully framed and lit, captured by Costa’s camera, largely fixed in place. However, it’s also quite different, not just in taking in an expansive running time, but in embracing then relatively new digital video technology. There’s a notable degradation to the image compared to Ossos, but this is formally matched to the setting, which itself is a rough, broken area of housing being literally torn down as we watch and as these characters try to live their lives. Drugs are a major part of coping, and watching Vanda and her friends shooting up, sniffing and otherwise ingesting drugs is part of the texture of the film, not a moral lesson so much as just a throughline to their misery. Not much happens in some senses, and this is where watching on a big screen, in the captive experience of a cinema, would undoubtedly have improved it for me. As it was, my attention strayed but never for too long, and Costa proves himself adept at capturing something remarkable about these lives.


FILM REVIEW: Criterion Collection
Director/Writer/Cinematographer Pedro Costa; Starring Vanda Duarte; Length 171 minutes.

Seen at home (DVD), Wellington, Saturday 26 February 2022.