Salute Your Shorts: More of Pedro Costa’s Letters from Fontainhas
Salute Your Shorts is a weekly column that looks at short films, music videos, commercials or any other short form visual media that generally gets ignored.
Out this week on DVD is the monumental and largely forbidding set of Pedro Costa’s six Fontainhas films, aptly titled Letters from Fontainhas after events in the set’s most-famous picture Colossal Youth. That feature in particular has long been sought out here in the States, but the movie itself is easily misunderstood without the context of the films that preceded it; likewise, the three short films that Costa made after it are difficult to understand without understanding Colossal Youth. Each film builds on the last in a way that’s one of the clearest artistic progressions available, even if it misses out on the projects Costa was working on in the midst of his more than 10-years-long epic.
When Costa finished filming his second feature Casa de Lava in 1994, a sort of loose remake of Jacques Tourneur’s I Walked with a Zombie, he was given a large number of letters and gifts to deliver to people back in Portugal. Costa had shot the film in Cape Verde, a former Portuguese colony from which many had left and emigrated to Lisbon. In delivering these letters Costa found himself entering the poverty stricken Fontainhas district of Lisbon, a usually ignored area of town composed of poor people from both Portugal and Cape Verde without any particular dividing lines. It was a shock to Costa and he spent the next few years visiting and practically living in the area while doing research and eventually filming Ossos.
Ossos is a slow, difficult movie shot in the style of classical auteur-driven European cinema. Many critics link it with films by Robert Bresson and not just because its cinematographer worked with Bresson on L’argent, but because of its self-consciously elliptical narrative that removes important scenes from the film. That being said, it’s also the most conventional of Costa’s Fontainhas works, a beautiful work that may well be my personal favorite film by Costa. Its story focuses on a deadbeat dad stealing a baby and trying to sell it. The movie’s stand-out, though, is the Fontainhas actress Vanda Duarte, who plays a friend of the mother and is the only one actively trying to retrieve the child.
While Ossos was critically acclaimed and is in every way a great modernist film, Costa saw its method of filmmaking as a dead end because it required a large crew, invasive lighting and overtaking a neighborhood. In reaction to this, Costa shot his next feature, In Vanda’s Room, on digital video and aside from an occasional assistant to work the sound, did the entire movie himself with no crew or anything. The film is a pseudo-documentary, with Costa asking people to repeat stories they’ve said elsewhere for the camera. It’s still more truthful than any of Werner Herzog’s documentaries, less stylized than Errol Morris’, and technically almost identical to Frederick Wiseman’s films, but I guess if Costa doesn’t want it to be a documentary then it doesn’t have to be. In any case, the movie took his minimalism to a greater extreme with almost no camera movement and almost no plot. The movie’s main action consists of the Fontainhas population sitting around, doing drugs and telling stories.
In essence the last third of Costa’s “Fontainhas Trilogy” of features combines the aesthetics of both of its predecessors. Colossal Youth was shot once more in DV, only this time it has a plot of sorts. At least, it has a protagonist, the imposing Ventura who spends his time visiting the now-evicted ex-residents of Fontainhas, the destruction of which was documented in In Vanda’s Room. The film features the beauty of Ossos with the progressive filmmaking technique used in In Vanda’s Room, creating a film that’s moving due to both its richly developed characters and its truly beautiful shots.