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For the second time this year, my festival coverage is interrupted by an uncomfortable abscess on my tail-bone. It is not a particularly serious condition but it is very painful, in particular when I sit down. The only position that is remotely comfortable is lying on my stomach, which is not very conducive to the festival experience. I was speaking with my friend about it, and they told me “when the body is sick, sometimes it’s trying to communicate something to you”. I guess that means my body would rather I be the subject of a David Cronenberg body horror than watch one. Luckily people have been helpful and supportive and I still have access to a number of films, I’m just a little more sluggish than normal. Instead of fitting in my writing between screenings and after late nights of partying, I’m writing between doctor’s visits and periods of recovery. »
- Justine Smith
Cph:dox has announced its 2014 programme including more than 200 documentaries from around the world.
Laura Poitras will serve as guest curator, working on the surveillance-themed programme Astro Noise, who will also screen (in competition) her new film Citizenfour about Nsa whistleblower Edward Snowden.
There are four world premieres in the main Dox:award competition (full list at end of story).
An art film programme will include a special focus on Keren Cytter.
This year the festival launches a new festival format called Megatrends, which includes the surveillance programme as well as focuses on technology, the economy, inequality, and Africa.
The festival’s new ambitions this year also include screenings in the whole capital region, with Dox:on:tour. As previously reported, the festival’s opening film 1989 by Anders Østergaard will not only be screened in the Dr Concert Hall in Copenhagen, but also simultaneously in theatres across the country, and in more than ten different countries in Europe.
The investigative »
- email@example.com (Wendy Mitchell)
After a lengthy absence from the slums of Fontainhas, the physical setting of his trilogy on impoverished marginalized humanity personified by Cape Verdean immigrants —"Ossos" (1997), "In Vanda's Room" (2000), "Colossal Youth" (2006)— Portuguese filmmaker Pedro Costa returns with "Horse Money." We re-connect with Ventura, the window to the souls of 'youth,' who appears physically and psychologically drained since we've last seen him, resting peacefully on Vanda's bed. The familiarity of the setting, Ventura's screen presence as magnanimous and magnetic as ever, and Costa's pictorial mise-en-scène, are stalwart reminders of the same universe. But something is undeniably, remarkably and a touch frighteningly different in the air. "Horse Money" is situated on some metaphysical plane, twice removed from the ramshackle physicality of its three predecessors, but through Ventura, newcomer Vitalina, a stupendous musical montage and a »
- Nikola Grozdanovic
Horse Money is astonishingly beautiful in its visual poetry! Pedro Costa, who wanted to capture the life in Lisbon's ghetto area called Fontainhas in the late 90s, made a beautiful film called Bones (Ossos). During the shoot, he saw much beauty in the place and got to know its poor, working class, immigrant inhabitants. He decided to immerse himself in their lives, abandoning his huge 35mm film equipment, elaborate lighting setups and a big crew and started documenting their lives with small video camera. The experience bore him two more extraordinary films, In Vanda's Room and Colossal Youth, starring the inhabitants of the slum, which are remarkably immersive fictional films bordering on documentary territory. The three films became later known as The Fontainhas Trilogy. Fontainhas has since...
[Read the whole post on twitchfilm.com...]
There is a special place in cinema heaven for the likes of Locarno programmer Mark Peranson, Tiff programmer Andréa Picard and The Cinema Guild’s Ryan Krivoshey. With their acerbic tastes in slow auteur cinema and form-bending non-fiction, after having been showcased in the Wavelengths section (joining the ranks of previously picked up Lisandro Alonso’s Jauja and Matias Pineiro’s The Princess of France), The Cinema Guild have completed the trifecta in acquiring their third Tiff-nyff item in Pedro Costa’s Horse Money. The Locarno Film Fest winner for Best Director will open theatrically in 2015.
Gist: While the young captains lead the revolution in the streets, the people of Fontainhas search for Ventura, lost in the woods.
Worth Noting: Costa has his share of supporters: Criterion packaged “Ossos” (1997), “In Vanda’s Room” (2000) and a seminal film in the decade of the naughts in 2006′s Colossal Youth. Cinema Guild landed »
- Eric Lavallee
Horse Money (pictured) premiered in Locarno where it won the best director prize after screening in Toronto.
Costa’s story follows the lives of Cape Verdean immigrants in a grim Lisbon neighbourhood haunted by a dark past.
Ryan Krivoshey of Cinema Guild brokered the deal with Costa on behalf of Sociedade Optica Tecnica Optec Lda.
Horse Money will open theatrically in 2015.
RADiUS has acquired Us rights to Heaven Knows What ahead of its screening at the New York Film Festival on October 2. Josh and Benny Safdie’s film received its world premiere in Venice and follows a heroin addict in love in the streets on New York. Arielle Holmes stars and the film is based on her upcoming memoir. Caleb Landry-Jones also stars. RADiUS negotiated »
- firstname.lastname@example.org (Jeremy Kay)
London — The St. Petersburg Intl. Media Forum launched Wednesday with a lineup of screenings spread across 10 programs, each curated by a leading Russian film critic.
Catherine Mtsitouridze, Spimf’s concept creator and general producer, said that the curators of programs had enjoyed complete freedom during the selection process.
“For the film selection for the Media Forum, it was essential to ensure 100% freedom of expression for the curators, our friends and like-minded fellows. Trust is the key success factor in our work,” she said.
The Mamentum section features four films by French directors that appeared at Cannes: Olivier Assayas’ “Clouds of Sils Maria,” Francois Ozon’s “The New Girlfriend,” Bertrand Bonello’s “Saint Laurent” and Benoit Jacquot’s “Three Hearts.”
The section’s curator, Alexander Mamontov, commented: “Our »
- Leo Barraclough
From Tiff's Wavelengths: It happened that Jordan spotlighted three features (Horse Money by Pedro Costa; From What Is Before by Lav Diaz; and Episode of the Sea by Lonnie van Brummelen and Siebren de Haan ) while I picked three shorts (The Innocents by Jean-Paul Kelly; Detour de Force by Rebecca Baron; and Sea of Vapors by Sylvia Schedelbauer). While many of these films, particularly the shorts, have slim prospects for playing theatrically in most locations, it is well worth keeping track to see if they may pop up in a repertory theater, microcinema or film festival near you. >> - Kevin B. Lee »
Written and directed by Pedro Costa
Horse Money is an elusive entity, a picture of eerie dreamscapes and squalid urban degradation devoid of earthly logic. Our unknowing guide is a retired brick layer named Ventura, acting as a cipher for the displaced souls of the Cape Verdean immigrants, consorting us through a saprogenic world. Director Pedro Costa crafts a hallucinatory, soul-searching labyrinth out of the squalor and grime of the Lisbon slums, known to locals as Fontainhas. It’s almost soporific in its unending calmness, but it (mostly) avoids pretensions. Ventura drifts in a solipsistic daze through various scenes of displaced landscape and artifice. He does various non-activities with unvarying detachment: he meets his estranged ex-wife, and tries to make a call on a broken phone, and uses a urinal in a derelict bathroom, and visits a doctor. Each event is visually striking, yet completely uneventful (though »
- Greg Cwik
The New York Film Festival kicks off this evening, though not with Mike Leigh’s Mr. Turner (that comes next weekend), even though I couldn’t resist leading off this year’s round-up with this glorious sunburst of a poster for that film’s German release.
Keyart doesn’t seem to have been created yet for some of the newest films like Paul Thomas Anderson’s Inherent Vice, Mia Hansen-Løve’s Eden, the Safdies’ Heaven Knows What, Pedro Costa’s Horse Money, Eugene Green’s La Sapienza, Nick Broomfield’s Tales of the Grim Sleeper, and Oren Moverman’s Time Out of Mind, but I have managed to find posters for the other 23 films in the Main Slate of the Festival. Some are repeats from my Cannes Competition round-up earlier this year, though I have tried to find newer designs if possible (like that striking Saint Laurent). Posters are presented »
- Adrian Curry
Because most of the films screening at the 52nd New York Film Festival (September 26 through October 12) have seen their world premieres earlier in the year, we're able to post an index to all our entries on critical reaction to these titles so far. Now we can look forward to a fresh round of reviews of new work by the likes of Jean-Luc Godard, Alain Resnais, Paul Thomas Anderson, David Cronenberg, Olivier Assayas, Abel Ferrara, Mike Leigh, Hong Sang-soo, Abderrahmane Sissako, Mia Hansen-Løve, Pedro Costa, Joshua Oppenheimer—the list goes on. » - David Hudson »
We're mourning the loss of Peter von Bagh along with countless others in the world cinema community. Many are sharing past articles on or by von Bagh. Here's Jonathan Rosenbaum's piece on the man, and his extraordinary film Helsinki, Forever:
"We’ve met at various times in Paris, London, New York, Southern California, Chicago, Helsinki, Sodankylä, and Bologna — and probably in other places as well, although these are the ones I currently remember. The first times were in Paris in the early 1970s, when he looked me up, and it must have been either in San Diego in 1977 or 1978 or in Santa Barbara between 1983 and 1987 that he convinced me to buy a multiregional Vcr. Most likely it was the latter, where I was mainly bored out of my wits apart from my pastime of taping movies from cable TV, and Peter maintained that if we started swapping films through the mail, »
From October 8 to 19, the 43rd edition of the Festival du nouveau cinéma will run. This year’s lineup of 380 films (152 features and 228 shorts from 55 countries) includes 40 world premieres, 51 North American premieres and 41 Canadian premieres. The festival opens with the English language debut of Philippe Falardeau, The Good Lie and closes with the feature documentary The Salt of the Earth co-directed by Wim Wenders and Juliano Ribeiro Salgado.
Always balancing the best of local and world cinema, this year’s line-up features favourites of the festival circuit including a number of key world premieres. Some key releases include, Félix and Meira (winner of best Canadian feature at Tiff), Adieu au langage (Jean- Luc Godard), Horse Money (Pedro Costa), Hard to Be a God (Aleksey German), Jauja (Lisandro Alonso), Maps to the Stars (David Cronenberg), P’tit Quinquin (Bruno Dumont), Wild (Jean-Marc Vallee), A Girl Walks Home Alone at Night (Ana Lily Amirpour »
- Justine Smith
The new issue of Cinema Scope features articles on Harun Farocki, Xavier Dolan, David Lynch, Eugène Green and Michael Snow and interviews with Pedro Costa, Simone Rapisarda Casanova and Peter von Bagh and more. Also in today's roundup of news and views: Ignatiy Vishnevetsky on Dan Sallitt's The Unspeakable Act, Jordan Cronk on Martin Scorsese's Mean Streets, Howard Hampton on Eraserhead, David Cairns on Segundo de Chomón, Sierra Pettengill on Roberto Rossellini's Roma città aperta—and more. » - David Hudson »
Below you will find our total coverage of the 2014 Toronto International Film Festival, including a round up on experimental short films, reviews, and the festival-spanning dialog between our two main critics at Tiff. More interviews will be added to the index as they are published.
Between Fernando F. Croce and Daniel Kasman
Daniel Kasman on Pedro Costa's Horse Money, Peter Ho-Sun Chan's Dearest, Roy Andersson's A Pigeon Sat on a Branch Reflecting on Existence, Takashi Miike's Over Your Dead Body, and Sono Sion's Tokyo Tribe
Even when his choice of material has been suspect, Alejandro G. (formerly Gonzalez) Inarritu has never given us reason to doubt him as one of the most purely gifted filmmakers of his generation. For him, no less than for Michael Keaton, this ferociously inventive plunge into the corroded soul of American celebrity represents a career-reigniting comeback; for that wizardly cinematographer Emmanuel Lubezki, it’s the latest in a steady stream of digital long-take miracles, like “Black Swan” as directed by Max Ophuls. (Venice, Telluride, New York)
“From What Is Before”
The extreme length is inseparable from the power and conviction of Lav Diaz’s historical epic about the devastation of a small Filipino barrio amid the political and military unrest of the early 1970s. As a slow-burning study of social decay, this winner of Locarno’s Golden Leopard prize is both a thematic companion piece to Michael Haneke »
- Variety Staff
★★★★☆Since as far back as his third feature, 1997's Ossos, the work of auteur Pedro Costa has frequently explored the troubled Lisbon district of Fontainhas. In a loose trilogy he has chronicled the existential wanderings of impoverished immigrants, most recently in Colossal Youth (2006), which focused on the Cape Verdean Ventura. Costa is once again the subject of the director's latest film, Horse Money (2014), which moves at a brisker pace than previous outings but is unlikely to convert disbelievers. It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal, and was rightly rewarded with the Best Director prize at this year's Locarno Film Festival.
- CineVue UK
As this year’s Toronto Film Festival hits its midpoint, the headlines are that sales have been slow and that Oscar prognosticators are still looking for The One — that mythical, anointed cinematic being that will appear before them (like Neo in “The Matrix” or the giant mechanical claw in “Toy Story”) and reveal itself to be this year’s odds-on best picture favorite. Meanwhile, for those of us who care more about the art of movies than the hype and the business, this over-programmed, over-scheduled but nonetheless essential festival of festivals has (as usual) been an embarrassment of riches. Of course, those who stick to Toronto’s starry, red-carpeted world premieres (here, as at most North American fests, milquetoast sops to the deep-pocketed donor-sponsor crowd) are bound to go home disappointed, though at least one of those much-buzzed titles, Chris Rock’s outrageously funny “Top Five,” was »
- Scott Foundas, Justin Chang and Peter Debruge
What follows is a highly selective, unavoidably partial guide to the Wavelengths section of the 2014 Toronto International Film Festival, which kicks off today. Perhaps it seems that “selective” and “partial” are synonymous enough to produce redundancy when placed within the same sentence, and in most instances I would agree with this objection. In the first case, "selective," I will note that, of the 28 shorts and features that I was able to preview from the Wavelengths section (impeccably curated, as always, by the perspicacious Andréa Picard), I have chosen to highlight the fifteen that I personally found most aesthetically and intellectually bold, invigo(u)rating, troubling, critical-verbiage-thwarting, or otherwise worthy of hearty recommendation. This in no way implies that the other works were somehow lacking, only that I could not see my way through to them at this particular time and place. A different set of viewing circumstances (the ones you’re about to embark upon, »
- Michael Sicinski
Below you will find an index of all our coverage of the 67th Locarno Film Festival by Adam Cook, Marie-Pierre Duhamel, and Celluloid Liberation Front.
Web Exclusive: The World of Titanus by Carlo Chatrian
From What is Before by Lav Diaz
The Princess of France by Matías Piñeiro
Horse Money by Pedro Costa
Une jeune poète by Damien Manivel
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