#vitalina varela

[thinkingimages]

Vitalina Varela (2019)

[forhandsthatsuffer]

Vitalina Varela (2019), dir. Pedro Costa

[albertserra]

hi it's the anon again, after watching the servant i watched Salo and copkiller thanks to @falsenote's suggestion lol if you have more films matching this vibe i'd be grateful ❤️

Omg you really went and did it… and both of them too! Slay I’m assuming you liked both since you’re asking for others. The servant and salo are very different vibes to me but lemme think.

The valley of the bees (1968)

wake in fright (1971) (warning for real animal death in this one)

conversation piece (1974)

the night Porter (1974) - I highly recommend watching Cavani’s short doc ‘women of the resistance’ first. If you can see the value in salò you can likely get something meaningful from this otherwise very controversial film though

chess of the wind (1976) is very underseen but it got restored recently and i think matches the vibe perfectly

The cremator (1969)

Cure (1997)

Accident (1967)

The female prisoner scorpion series

I also think on a related note to salò some postcolonial films might hit for you in how confrontational they can be. Soleil ô (1970), the sp*ok who sat by the door (1973), Soy Cuba (1963), blood of the condor (1969). Perhaps even Vitalina Varela (2017).

[lostgoonie1980]

258. Vitalina Varela (Vitalina Varela, 2019), dir. Pedro Costa

[treethymes]

Japanese posters for Pedro Costa

[cinemawithoutpeople]

Cinema without people: Vitalina Varela (2019, Pedro Costa, dir.)

[ozu-teapot]

Vitalina Varela | Pedro Costa | 2019

[sacredwhores]

Pedro Costa - Vitalina Varela (2019)

[01sentencereviews]

Lead Performance, 2020

Michaela Coel as Arabella, I May Destroy You

Julia Garner as Jane, The Assistant

Lee Kang-Sheng & Anong Houngheuangsy as Kang & Non, Days

Andrea Riseborough as Tasya Vos, Possessor

Vitalina Varela as Vitalina Varela, Vitalina Varela

Patrick Foley & Michael Breslin as Jurgen Yionoullis / Patrick Foley / Troll & Lord Baby Bussy / Michael Breslin / Honney Corden, Circle Jerk

Jack Dylan Grazer as Fraser Wilson, We Are Who We Are

Maren Eggert as Mutter Astrid, I Was at Home, But...

Aubrey Plaza as Allison, Black Bear

Kate Lyn Sheil as Amy, She Dies Tomorrow

Joe Keery as Kurt Kunkle, Spree

Maya Erskine & Anna Konkle as Maya Ishii-Peters & Anna Kone; PEN15, Season 2.1

Deragh Campbell as Anne, Anne at 13,000 Ft.

Sidney Flanigan as Autumn, Never Rarely Sometimes Always

Kenyah Sandy as Kingsley Smith (Age 12), Small Axe: Education

Enrique Salanic as José, José

Sierra McCormick as Fay Crocker, The Vast of Night

Stephanie Hayes as Stephanie, Slow Machine

Tilda Swinton as Herself, The Human Voice

Christian Vazquez & Armando Espitia as Gerardo & Iván, I Carry You With Me

Evan Rachel Wood as Old Dolio, Kajillionaire

Paloma Petra as Paloma, The Dove and the Wolf

Levan Gelbakhiani as Merab, And Then We Danced

Yuichi Ishii as Yuichi Ishii, Family Romance, LLC

Hong Chau as Kathy, Driveways

[filmap]

Cavalo Dinheiro / Horse Money Pedro Costa. 2014

Fountain Alameda Dom Afonso Henriques, 1900-221 Lisboa, Portugal See in map

See in imdb

[lorilambe]

Vitalina Varela

Pedro Costa

2019

[inter-ax]

Vitalina Varela (2019)  Pedro Costa

[albertserra]

what's your favourite pedro costa film? i love vitalina sm, but horse money as an anti-colonial piece is phenomenal

those are the only two ive seen rn hdfjskghfdjkghfh i love both but i watched horse money first and i wasnt fully prepared for its style but the scene w the soldier statue really blew me away. vitalina varela is my fave of the two but probably biased bc i was more prepared for what i was getting into

[cristalconnors]

BEST FILMS of 2020- #20-11

20. THE WOLF HOUSE, dir. Joaquín Cociña, Cristóbal León

Totally arresting, Cociña and Lèon’s grotesquely beautiful, truly unsettling animation lives and breathes, constantly metamorphosing in style and form as it quite cleverly engages with questions of authoritarianism and propaganda.

19. VITALINA VARELA, dir. Pedro Costa

Mesmerizing. The claustrophobic, editorial visual language only serves to underline the profound grief and resentment in Vitalina Varela’s wonderfully expressive eyes that so effectively carry the entire emotional weight of the film.

18. BLACK BEAR, dir. Lawrence Michael Levine

What is going on with this weird, stilted, combative tone? Do I endorse *any* of the ideas being expressed in this?- Guided more by mood than by any logic, it takes a minute to figure out that the movie is fucking with you, just like how  Abbott and Gadon conspire to manipulate Plaza in the film’s second act. Bizarrely compelling.

17. THE ASSISTANT, dir. Kitty Green

More than just “the Weinstein movie,” The Assistant is interested in all the toxically hierarchical systems and pernicious practices of the film and television industry, observing and critiquing them with damning accuracy.

16. WOLFWALKERS, dir. Tomm Moore, Ross Stewart

As predictably gorgeous as all of Cartoon Saloon’s previous films, with the delicately hand-drawn animation and lush, immersive design that has become the studio’s calling card. Where this one transcends those others is in its capturing of the magic of folklore, harnessing its full capacity to teach and to transfix. It keeps things simple narratively while never talking down to its viewer or underestimating their ability to appreciate nuance or assess thematic intent, as happens so often in children’s animation. Spellbinding. 

15. SONG WITHOUT A NAME, dir. Melina León

A tremendously soulful, gorgeously composed journalistic procedural that deftly dissects profound institutional disfunction in late 1980’s Peru, subtly detailing the myriad of ways its government failed its people, particularly indigenous communities. Unafraid to take formal risks. All The President’s Men one moment, Eraserhead the next. 

14. FIRST COW, dir. Kelly Reichardt

Beautifully juxtaposes the unlikely compassion, burgeoning cross-cultural community, and misplaced promise of opportunity in the American Frontier with the harsh inequities and brutal inhumanity of Capitalism, subtly but clearly delineating how the former is undone by the latter.

13. BEANPOLE, dir. Kantemir Balagov

A virtuosic vision of the utter devastation of post-war Russia that is intimately observed and intricately, richly textured. It can be brutal, punishingly so, but is an undeniably captivating cinematic feat.

12. IN MY BLOOD IT RUNS, dir. Maya Newell

Staggeringly observes the ongoing devastation to indigenous communities brought by colonialism in Australia’s Northern Territory, paying close attention to the stunning failures of its public school system and its impact on indigenous youth. That the film is so pointedly political feels like a slight of hand given the tenderness with which Newell treats her subjects, allowing the film to also be a celebration of family and community. 

11. THE FATHER, dir. Florian Zeller

Immersive and deeply disorienting by design, using perspective in strikingly inventive ways to craft an at times terrifying, always deeply empathetic vision of living with dementia.

[shiningwizard]

Vitalena Varela (Pedro Costa, 2019)

reaching across. Light falling on nothing necessary, just pieces of a world he knew but she didn’t.