Pedro Costa’s longest and most challenging film is also the one in which he most fully discovers his present method (shooting beautifully composed tableaux without camera movement in digital video, with scripted dialogue) and subject matter (immigrants from Cape Verde and junkies, all nonprof
Undaunted by a commission to make a film about his mentors and aesthetic exemplars, the filmmaking team of Jean-Marie Straub and Danièle Huillet, Costa records with great sensitivity and insight the exacting process by which the two re-edit their film Sicilia!, discussing and arguing over eac
Ventura, a Cape Verdean laborer living in the outskirts of Lisbon, is suddenly abandoned by his wife Clotilde. Ventura feels lost between the dilapidated old quarter where he spent the last 34 years and his new lodgings in a recently-built low-cost housing complex.
“So we make films on high seas. And as we do not have a book of laws, we work in a very dark area, which is memory, because our material is memory.”
Vitalina Varela, 55-year-old, Cape Verdean, arrives in Lisbon three days after her husband’s funeral. She's been waiting for her plane ticket for more than 25 years.