IMDb > Colossal Youth (2006)

Colossal Youth (2006) More at IMDbPro »Juventude Em Marcha (original title)


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Release Date:
23 November 2006 (Portugal) See more »
2 wins & 2 nominations See more »
Daily | Toronto 2014 | Pedro Costa’s Horse Money
 (From Keyframe. 7 September 2014, 5:48 AM, PDT)

User Reviews:
Slow but exquisitely beautiful portrayal of an immigrant's life See more (5 total) »


  (in credits order)

Directed by
Pedro Costa 
Writing credits
(in alphabetical order)
Pedro Costa 

Produced by
Philippe Avril .... co-producer
Elda Guidinetti .... co-producer
Andres Pfäffli .... co-producer
Francisco Villa-Lobos .... producer
Cinematography by
Pedro Costa 
Leonardo Simões 
Film Editing by
Pedro Marques 
Production Management
Joaquim Carvalho .... unit production manager
Sound Department
Olivier Blanc .... sound recordist
Nuno Carvalho .... sound editor
Mário Dias .... sound editor
Camera and Electrical Department
Hugo Azevedo .... assistant camera
Frédéric Serve .... thanks

Production CompaniesDistributorsSpecial Effects

Additional Details

Also Known As:
"Juventude Em Marcha" - Portugal (original title)
See more »
155 min (Melbourne International Film Festival)
Filming Locations:


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10 out of 16 people found the following review useful.
Slow but exquisitely beautiful portrayal of an immigrant's life, 24 April 2007
Author: rasecz from United States

Don't look for a plot. Immerse yourself in the sequence of apparently disconnected vignettes. Get to know the main character, Ventura, a Cape Verdean that emigrated to Portugal around 1972; now, retired and still poor.

This is scrambled story telling in slow motion. Often I found myself thinking about Beckett. The dialogs appear irrelevant, having to do with mundane personal life experiences, friends and relatives. These are poorly educated people after all. In fact one better pay close attention to the prate. It is through small revelations and asides in conversations that we pick up the clues to the life of Ventura and those close to him.

The quiet and unpretentious acting, the extended takes, the absence of broad movements, the occasional lengthy silence, all can be soporific. Yet one needs to listen carefully.

The most captivating aspect is what the director and the cameraman did. Each scene is meticulously framed. Except for a couple of simple pans, the camera is invariably fixed. The overall result is like walking through an art museum. Each shot is a painting, the actors sometimes still, sometimes moving in and out of the frame. The naturalistic lighting reminded of paintings by Rembrandt of persons of a certain standing in Dutch society. Here Pedro Costa paints the faces of simple folks in the stark and denuded ambiances of a poor neighborhood. The visual effect is magical.

The actors are not dramatically stressed, except for the principal female role. Her long, inward monologues feel so authentic and natural that I could swear she was acting her own true self. The male actors are stiff placeholders, but don't dismiss what they are saying.

The story plays as a song. There is a refrain in the form of a love letter to a woman left behind in Cape Verde. It is repeated many times throughout. Again pay attention to the words each time as small variations occur with a telling commentary.

The ironic title is delectable.

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