Standing on Opposite Sides of the Road: Pedro Costa on Horse Money

Locating himself far from the mainstream of even international art cinema, Pedro Costa is widely regarded as one of the most important artists on the international film scene. Born in 1959, he was already a successful filmmaker when he began to feel, on the set of his third feature Ossos (1997), that something was wrong with the normal way of making films: “We should rethink all of it,” he thought. Jettisoning his professional crew, he made In Vanda’s Room (2000), shot by a one-person crew on a consumer mini-DV camera in Lisbon’s Fountainhas ghetto over the course a year. A […]

from Filmmaker Magazine http://ift.tt/1fshsZQ