Under the supervision of two critics, he produced a collection of unpublished essays and photographs plunging into the landscapes and figures of the Portuguese director’s work.
“What time is it? Are you going to press all that?” Compressed, maintenance that opens Materials. Pedro Costa About sixty pages, and we’ll take nothing of it. Here is a book full of ghost houses, wooden ceilings, doors without locks. We enter it through images from the body of films, particularly through urban plots. Produced under the direction of critics Luc Chessel – regular contributor to the cinema pages of Release – and Cyril Neyrat, this collection of articles first takes us through the popular, self-constructed neighborhoods on the outskirts of Lisbon, which the Portuguese author placed at the heart of cinema. That means, about his work, because of work, there’s a lot of talk here. Pedro Costa can be a intimidating character to dip your toe into work for the first time. Hieratic action, taciturn, stern, one tends to think. But burning with the violent humanism that engulfs us, with such grace you give the impression that you lie near the tragic margins of OsosAnd In Vanda’s roomAnd young forward…and recently, Vitalina Varela, whose theatrical release on January 12 coincides with the publication of this impressive collection of unpublished text and images, by Editions de l’œil. 480 pages total, it’s no exaggeration to marry the ethics of a filmmaker riveted to a grotesque obsession: “Reclaiming time, which has always been the enemy of people.”
Materials. Pedro Costaunder the direction of Luc Chessel and Cyril Neyrat, Editions de l’œil, 480 pages, €40.