NYFF '24: Portuguese pastoral poetry in "Fire of Wind"

by Cláudio Alves

The first thing one notices about Marta Mateus' feature debut, Fire of Wind, is its striking look. A vineyard extends as far as the eye can see and the camera gobbles up every detail, crisp and razor-sharp in that way digital filmmaking so often is. The visual style is almost aggressive in how much texture it seeks to pack into every shot, a spin on haptic cinema that ensures the spectator considers each line in the grapevine and the rustle of plump windswept leaf. You can almost count the blades of dry grass below, far into the distance, as there's no artful shallow focus here, no anamorphic distortion or other trendy affectations of the cinematic image. It looks like little else out there – not even the films of Fire of Wind producer Pedro Costa...

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A queer-leaning Venice Critics Week

by Nathaniel R

Three Nights a Week

The titles have been announced for one of the exciting sidebars at Venice. Critics Week is for feature debuts for emerging filmmakers. That means they're eligible for the Lion of the Future prize, determined by a jury from all debuts across the festival. What's more at least three of these titles are queer films so maybe the Queer Lion will be competitive this year, too! As with the Lion of the Future prize, all sections of the festival counts so a special jury chooses The Queer Lion after screening the qualifying films (in this case anything LGBTQ themed). Venice runs August 31st through September 10th, 2022. Once again this year Elisa Giudici will be covering Venice for us...

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Best International Feature: France, Portugal, Spain

by Cláudio Alves

Europe is the most represented continent in the history of the Best International Feature Oscar. However, while some of its countries are regularly honored, others have been submitting for decades without luck. France, for instance, is the reigning champion of the category, having been nominated forty times. In contrast, Portugal - my country – holds the record for the most submissions without a single nod. For this chapter in our trip through world cinema, we arrive at these two nations' 2020 submissions as well as Spain's Netflix contender…

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What will be Portugal's choice?

by Cláudio Alves

Just this weekend, I was singing the praises of Pedro Costa's Vitalina Varela. Lo and behold, the shadowy chamber drama is one of four finalists for Portugal's Oscar submission. A jury of the Portuguese Film Academy, made up of directors Gonçalo Galvão Teles, Lauro António and Monique Rutler, actors Isabel Abreu and Welket Bungué, and cinematographer Miguel Sales Lopes, has selected their finalists from a list of 33 eligible features. The quartet of lucky films are…

 

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Portuguese Cinema on Criterion

by Cláudio Alves

It's not often that one gets the opportunity to promote Portuguese cinema in these parts of the internet. Despite good reviews and some acclaim across the festival circuit, it's rare to find films from Portugal being discussed internationally. Even though I love my country's pictures, I find it difficult to justify writing a piece about them for The Film Experience, especially considering plenty of readers don't have access to said films. When the opportunity strikes, one can't waste it. 

Recently, the Criterion Channel has curated two collections focused on the works of Pedro Costa and João Pedro Rodrigues, some of Portugal's most important contemporary filmmakers [some NSFW images after the jump]...

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