Films byTexts by Horse Money

“Fiction is everywhere. The question is: where do we situate the starting point of fiction? What kind of arrangement makes something happen? In a way, we can say there is fiction whenever there is some kind of narrative that tells, or shows, us that something is happening. That’s why, in my recent work, I have mostly been interested in exploring the edges of fiction, the edge between nothing happens and something happens.”

Horse Money
Pedro Costa, 2014, 103’

“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.”

Pedro Costa



When you watch a film like Farrebique [Georges Rouquier, 1946] you see a lot of things, there is an incredible number of things you see per second and they were there, they existed. That’s the most incredible thing; everything existed on the screen. I don’t know if it’s just me, or the power of documentary, or life being so raw... I think we’re losing a lot of stuff, every day. We’re losing the ability, the craft, we don’t know how to use our minds and our tools – myself included. What we see mostly today is a million ways of escaping a confrontation with reality.


Mais l’imitation de la vie, n’est-ce pas ce que fait, qu’on le veuille ou non, l’art cinématographique ? En notre temps, comme au temps de Jacques Tourneur ou de Douglas Sirk, le cinéma n’est-il pas le lieu privilégié pour interroger le rapport entre la vraie vie et les histoires de fantômes, sortis du passé ou d’un autre monde ?


Maar is de nabootsing van het leven niet juist datgene wat, of men het nu wil of niet, de cinematografische kunst voortbrengt? Is cinema niet, in onze tijd, net als in de tijd van Douglas Sirk of van Jacques Tourneur, de bevoorrechte ruimte om de verhouding tussen het echte leven en de verhalen van fantomen, ontsnapt uit het verleden of uit een andere wereld, te onderzoeken?