It would do justice to Pedro Costa’s career in regards to Horse Money (2014) as a continual refinement in style rather than completely treading new ground. Confined to Portugal’s and Ventura’s (the lead of 2006’s Colossal Youth who also guides us a year later through interlocked short companion pieces Tarrafal and The Rabbit Hunters) manifested inner traumas, this feverish odyssey’s more streamlined rhythm, shorter shot durations and use of music is a slight departure from other work of the 2000s. But nothing has changed. These editorial elements precede Costa’s recent feature, always composing an instinctual flow of elliptical, seemingly discrepant scenes that disorient time and place.
This text originally appeared on www.anosamours.co.uk web site.
Why long form?
Why make film that goes beyond the usual couple of hours? What can happen that couldn’t happen otherwise?
Film makers have rarely had the opportunity nor taken the risk of making very long form works, though it seems natural that one of the first such films was a Christian photo-play made in 1914 that ran for 8 hours or so, covering creation to rapture. Christian story-telling is after all preoccupied with the long-lived and the enumeration of generations.
Andy Warhol established long form as a cool, defining concept for the generation that discovered the lovely affordability and easy projecatibility of 16mm. Other artists have gone long ever since. With the even cheaper potential of digital we can expect ever longer forms to emerge. But in terms of a film that offers contemporary lively drama, with dialogue, with a script (or something like that), the pleasure of developed and developing characters, Out 1 is it – the work of a New Wave film-maker at the top of his game.