The 61-year-old Portuguese filmmaker Pedro Costa makes movies that transport you to another place — namely, Fontainhas, the impoverished Lisbon shantytown whose run-down homes and narrow alleys become a place of shadowy, spectral beauty in films like “In Vanda’s Room,” “Colossal Youth” and “Horse Money.” It is the setting oflatest work, “Vitalina Varela,” a slow-building, haunting portrait of a woman who has returned to Lisbon from Cape Verde to bury the husband who abandoned her years earlier.
Both distancing and powerfully immersive, “Vitalina Varela,” which won the top prize at last year’s Locarno Film Festival and recently screened at
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