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2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006

18 items from 2016


"Be More Radical Than Me!": A Conversation with Béla Tarr

18 July 2016 5:49 AM, PDT | MUBI | See recent MUBI news »

Béla Tarr © Zero Fiction FilmThe Hungarian auteur Béla Tarr bid a farewell to the active filmmaking at the age of 55 with the 146-minute long reckoning The Turin Horse (2011), consisting of 30 takes. His filmography counts nine features that elevated him into the pantheon of world cinema, earning Tarr epithets as legend, master, cult or visionary, among others. Tarr started shooting films as an amateur at the age of 16, and at 22 he got a shot to make a feature-length film, Family Nest (1979), at Béla Balázs Studio. The early stage of the filmmaker's career marked by Family Nest, The Outsider (1981) and The Prefab People (1982) is defined by social themes and documentary style akin to cinéma vérité. However, the core of his work features his singular aesthetics and bleak visions of the post-communist landscape, notably in Damnation (1988), the cinephiliac 432-minute long treat Sátántangó (1994), and Werckmeister Harmonies (2000).  His distinctive style stems from black and white, »

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Abbas Kiarostami Remembered: Why He Was Iran’s Essential Filmmaker — Critic’s Notebook

4 July 2016 7:06 PM, PDT | Indiewire | See recent Indiewire news »

One of the most interesting collisions of the public perception of Iran’s Islamic state and its reality is how, out of an apparently repressive state hostile to the creative arts, Abbas Kiarostami became the essential free filmmaker. “Freedom” is always a relative term when it comes to cinema, which, like politics, unfortunately runs on money. But it’s easy to spot the genuinely free filmmakers when they come along. Despite their varying struggles to get their movies made, the work that results is directly personal and unbound by prevailing cultural trends and diktats. They range from Jean Vigo to Kidlat Tahimik, Pedro Costa to Shirley Clarke, Stan Brakhage to Jose Luis Guerin. Kiarostami was the free filmmaker par excellence, since he managed to find his ever-developing acute approach to modernism through whatever system in which he might find himself working.

Read More: Abbas Kiarostami, Palme d’Or-Winning Director Of »

- Robert Koehler

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Tribute to Lgbtq Cinema, Jonny Greenwood Talk, Robby Müller Masterclass, and More

13 June 2016 1:20 PM, PDT | The Film Stage | See recent The Film Stage news »

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Watch Fandor’s tribute to Lgbtq cinema:

Our friends at Screen Slate, the top resource for NYC repertory screenings, have debuted a slick-looking new website.

Av Club‘s Jesse Hassenger on how Noah Baumbach helped Greta Gerwig become a brilliant soloist:

Baumbach, working with the late cinematographer Harris Savides, shoots Gerwig with a kind of watchful affection, getting in close as she drives around doing work errands, a hazy Los Angeles sun hitting the windows and Steve Miller Band’s “Jet Airliner” playing. “Are you going to let me in?” she asks another driver in talking-to-herself tones. This is one of the first shots of the movie, which follows Florence for a full eight minutes before introducing Stiller’s title character. In retrospect, it seems like Baumbach is tipping his hand about his interest in Gerwig. His instincts are dead-on; putting Gerwig at the front of the movie allows a hesitant character to make a vivid impression before smashing her into Stiller’s prickly garden of hang-ups and neuroses. Their romantic scrabbling, including a profoundly unsexy sort of sex scene, maintains the uncertainty of mumblecore but with a more articulate form of mumbling.

Listen to a one-hour talk with Jonny Greenwood on his Paul Thomas Anderson collaborations and more:

New York Times‘ Nina Siegal on how Robby Müller created the look of indie film classics, plus watch a masterclass from the director:

For Mr. McQueen, Mr. Müller developed a visual language to capture what appear to be men falling to their deaths in slow motion — a reference to the 1651 suicides of Carib Indians who leapt off a cliff rather than submit to their French colonizers on the island of Grenada, where Mr. McQueen’s parents were born. “Caribs’ Leap’’ is included in the exhibition.

The New Yorker‘s Richard Brody lists his 50 favorite foreign language films of the 21st century:

Ultimately, the movies on the list point forward to the future of the art, even if some of that future has already slipped into the past. The Chinese cinema has experienced, in this century, an outpouring of creative energy, thanks to the films of Jia Zhangke and other independent filmmakers there. I hope that the independent Chinese cinema will survive the government’s current wave of censorship and repression. In the Portuguese cinema, the baton has passed from Manoel de Oliveira and João César Monteiro to Pedro Costa and Miguel Gomes; the Iranian filmmaker Abbas Kiarostami, a one-man wave, has been followed by Jafar Panahi and Samira Makhmalbaf. It remains to be seen whether Romania’s one great filmmaker, Corneliu Porumboiu, will be able to coax that country’s rising industry away from its run of script-bound, Euro-generic social realism; whether Hong Sang-soo, currently the subject of a complete retrospective at Museum of the Moving Image, will inspire other filmmakers in South Korea; whether the Mauritanian director Abderrahmane Sissako (who has worked often in Mali as well) and the Chadian director Mahamat-Saleh Haroun will inspire a younger generation of filmmakers in those countries; and whether Germany, which saw its modern tradition broken by the death of Rainer Werner Fassbinder, the emigration of Werner Herzog, and the self-diminution-through-cultural-ambassadorship of Wim Wenders, will again become a spawning ground for daring young filmmakers.

Watch a video featuring BBC’s 100 greatest American films:

See more Dailies.

»

- The Film Stage

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

31 May 2016 8:06 AM, PDT | The Film Stage | See recent The Film Stage news »

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 »

- The Film Stage

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NYC Weekend Watch: Jean Cocteau, James M. Cain, ‘Mad Max’ & More

26 May 2016 7:01 PM, PDT | The Film Stage | See recent The Film Stage news »

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Anthology Film Archive

Make it a Jean Cocteau weekend: The Blood of a Poet and Orpheus screen on Friday, the former also showing on Saturday and the latter on Sunday. Beauty and the Beast also shows on those days.

A Jia Zhangke retrospective comes to an end. If you’ve not yet seen Mountains May Depart, »

- Nick Newman

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Watch Lav Diaz’s New Short Film ‘The Day Before the End’

18 May 2016 1:33 PM, PDT | The Film Stage | See recent The Film Stage news »

We are excited about Grasshopper Film, a distribution company led by Cinema Guild’s former Director of Distribution, Ryan Krivoshey. Though very, very new, they’re already living up to the latter company’s sterling reputation for bringing the best, brightest, and most challenging in world cinema, first releasing Asghar Farhadi‘s Fireworks Wednesday and soon giving us Hong Sang-soo‘s Right Now, Wrong Then, Bi Gan‘s Kaili Blues, and Robert Greene‘s Kate Plays Christine, to name but a few works we can already vouch for. (A longer list of forthcoming theatrical releases can be found here. As the linked-to news story will evince, older titles will arrive via digital platforms and home video.)

As part of their engagement with film culture at large, Grasshopper have launched a new blog, Transmissions. Despite calling itself “a film blog broadcasting from the outer reaches of cinephilia,” the editorial and design »

- Nick Newman

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Festival Gems: José María de Orbe’s "Aitá"

17 April 2016 6:46 AM, PDT | MUBI | See recent MUBI news »

Mubi is exclusively showing José María de Orbe’s Aitá April 17 - May 16, 2016 in the United States.As with Josef von Sternberg or Pedro Costa, light in José María de Orbe’s Aitá (Father) is a crucial character—suffusing rooms and corridors, throwing ornate patterns on panels, encircling people and then leaving them stranded amid darkness. Delicate yet tangible presences abound in the vaguely haunted setting, a large, crumbling house in the pastoral Spanish town of Astigarraga, a mansion replete with several centuries’ worth of dust and splendor. The aged caretaker (Luís Pescador) pulls weeds, digs up bones, and occasionally waxes metaphysical: Did you know, he asks a visiting priest (Mikel Goneaga), that hearing is the last of the senses to leave the dead? Seemingly still in control of its perceptions, the manor awakens at night as supernatural flickers materialize on its walls, with each blotchy moving image (ragged newsreels and Lumière brothers-type actualités, »

- Fernando F. Croce

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Weekly Rushes. 13 April 2016

13 April 2016 9:55 AM, PDT | MUBI | See recent MUBI news »

 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. »

- Notebook

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Oral History of ‘Taxi Driver,’ Duality of ‘Sicario,’ Analyzing ‘Au Hasard Balthazar,’ Joachim Trier Talk, and More

11 April 2016 12:14 PM, PDT | The Film Stage | See recent The Film Stage news »

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Pedro Costa tells Grasshopper Film his 10 favorite films of the last 10 years.

Robert De Niro, Martin Scorsese, Jodie Foster, and Paul Schrader give an oral history of Taxi Driver at THR:

We had one screening at the studio in a small screening room for some friends, and then it was shown to the studio. I don’t recall what my friends said, but people were kind of perplexed. I believe it was the next day that the studio saw it and there was a smiling kind of reaction that was very brief. Then I heard word that they were concerned that women wouldn’t like the film. Then, »

- TFS Staff

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DVD Review: Horse Money

30 March 2016 8:11 AM, PDT | CineVue | See recent CineVue news »

★★★★☆ 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.

»

- CineVue UK

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Given to See: A Tribute to Shigehiko Hasumi

30 March 2016 6:50 AM, PDT | MUBI | See recent MUBI news »

The following text is an excerpt from an essay commissioned by the specialist publishing house Hatori Press (Japan) for a tribute to the great critic, scholar and teacher Shigehiko Hasumi on the occasion of his 80th birthday (29 April 2016). Other contributors to this book (slated to appear in both Japanese and English editions) include Pedro Costa, Chris Fujiwara and Richard I. Suchenski. Beyond Prof. Hasumi’s many achievements in criticism and education (he was President of the University of Tokyo between 1997 and 2001), his ‘method,’ his unique way of seeing and speaking about films, has served as an immense inspiration for a generation of directors in Japan including Kiyoshi Kurosawa and Shinji Aoyama. The online magazines Rouge (www.rouge.com.au) and Lola (www.lolajournal.com), co-edited by Martin, provide the best access to Hasumi’s work in English (see references in the notes below).Leos Carax and Shigehiko Hasumi. Photo by Michiko Yoshitake. »

- Adrian Martin

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For the Audience's Consideration: An Interview with Ted Fendt

19 March 2016 7:25 AM, PDT | MUBI | See recent MUBI news »

A friend and a contributor to the Notebook has taken a deep breath of air and expanded his droll short films—which we’ve featured on Mubi—into a modest feature that received a decidedly impressive premiere at the Berlin International Film Festival in February and will next show at the New Directors/New Films collaboration between New York's Film Society of Lincoln Center and the Museum of Modern Art.Short Stay does not feel like a bigger film than director Ted Fendt's charmingly ill-fitting shorts, but rather is more robust, fuller in passing detail and commonplace incident. In other words: unassuming, but charged. This new movie very much resembles Fendt’s wonderful shorts, which feature young people of unenunciated dissatisfaction and nearly inscrutable psychology living small scale lives full of long-time acquaintances, a few friendships, over-visited family homes, and well-trod suburban and small town strolls. Fendt is also »

- Daniel Kasman

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Daily | Rivette, Chaplin, Akerman

23 February 2016 3:06 PM, PST | Keyframe | See recent Keyframe news »

In today's roundup of news and views, we collect further tributes to the late Jacques Rivette. Plus: Essays on Charles Chaplin's The Kid, Nagisa Oshima's Death by Hanging, Mike Nichols's The Graduate, Chantal Akerman's News from Home, Fritz Lang and Thea von Harbou, George Miller's Mad Max: Fury Road, Louis Ck's Horace and Pete, David O. Russell's Joy, Charlie Kaufman and Duke Johnson's Anomalisa, Philippe Garrel's In the Shadow of Women, the impact of War Games and The Blair Witch Project as well as Jonathan Rosenbaum on Kon Ichikawa, Pedro Costa, Yasujiro Ozu, Danièle Huillet and Marcel L’Herbier. And more. » - David Hudson »

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New Distributor Grasshopper Announce Slate with Films from Farhadi, Costa, Hong, Alonso & More

15 February 2016 10:32 AM, PST | The Film Stage | See recent The Film Stage news »

There are many reasons Cinema Guild is probably our favorite distributor, chief among them the sense that their slate consists almost entirely of titles that even the second- and third-most adventurous distributors would express hesitance about putting into the world. Make of it what you will, then, that their former distribution executive, Ryan Krivoshey, has just launched Grasshopper Film, an outlet that immediately sounds no less crucial than his old haunting ground.

Their initial press release is a murderer’s row of international voices, a few favorites of ours included. Just look at its first release: in some sense following the lead of Cinema Guild’s major unveiling of About Elly last year, they’re leading off with Asghar Farhadi‘s 2006 picture Fireworks Wednesday — previously released by Facets and less-than-easy to acquire for years — which comes to New York on March 16.

It’s expected that each year will offer eight-to-twelve »

- Nick Newman

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Portugal Preps Tax Rebate Scheme

12 February 2016 5:27 AM, PST | Variety - Film News | See recent Variety - Film News news »

Portugal is the latest country to announce a tax incentive scheme aimed at attracting major international productions.

The 2016 state budget authorizes a tax incentive scheme for film production in Portugal, in the form of a tax credit for film production expenditures incurred in Portugal, with eligible expenses of at least €1 million ($1.1 million).

The tax credit may be deducted from corporate income tax and will require the involvement of a line-producer based in Portugal.

“This is a long-awaited development, after many requests, both from national professionals and from the international filmmaking community, and should allow Portugal to improve its position in the global film locations market,” said Portugal’s minister of culture, Joao Soares.

Filomena Serras Pereira, president of the Portuguese film agency, Ica (Instituto do Cinema e Audiovisual) explained that there is a major desire to regulate the new scheme by the end of March, given that the initiative has »

- Martin Dale

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Wild at Heart: A Week of Debut Films

7 January 2016 9:02 AM, PST | MUBI | See recent MUBI news »

Happy New Year! We're ushering in the first of January with the first films of some of our favorite filmmakers: a week of debut films!In the Us we're showing Quentin Tarantino's Reservoir Dogs, Todd Haynes' Poison, Stanley Kubrick's Fear and Desire, Alain Robbe-Grillet's L'immortelle, vulgar auteurism mascot Paul W.S. Anderson's Shopping, Wong Kar-wai's As Tears Go By, and Derek Jarman's Sebastiane. In the UK, the lineup features Wes Anderson's Bottle Rocket, Wong's As Tears Go By, Steven Soderbergh's sex, lies and videotape, Michelangelo Antonioni's Story of a Love Affair, Mike Leigh's Bleak Moments, Maurice Pialat's L'enfance nue, and Pedro Costa's O Sangue. »

- Notebook

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Cinema and the Class Struggle

5 January 2016 10:10 AM, PST | MUBI | See recent MUBI news »

Les Soviets plus l’électricitéFrance’s central place within film culture may have its ups and downs when it comes to adventurous film-making, but its reputation as a hub of international film viewing holds strong. Yet beyond the central role of Cannes in the yearly festival rigmarole, and references to the riches of the Paris film-going scene and to vaguely understood state subsidies, little attention is actually paid to the wider infrastructures of a film-going culture which, after all, provided more ticket sales for Uncle Boonmee than the rest of the world combined. To say this is not to trumpet French exceptionalism far and wide: Olaf Möller has spoken lovingly of the key role of film programming on West German television in the 1970s, and Italian critics would no doubt be able to provide similar insight into the workings of Rai 3 or the myriad smaller festivals which continue to »

- Nathan Letoré

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

4 January 2016 6:41 AM, PST | MUBI | See recent MUBI news »

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 »

- Notebook

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2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006

18 items from 2016


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