By Ellen Blumenstein, Jean-Louis Comolli, Céline Condorelli, Doris von Drathen, Nuria Enguita May,
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Additional info for Afterall: A Journal of Art, Context, and Enquiry volume 24 Spring 2010
2 The portion of the visible obscured by the framing, no matter what the focal length of the lens but in proportion to it, is quantitatively greater than the framed portion of the visible. In other words, what is made visible by framing and in the frame obscures everything that the ordinary eye would see beyond this frame. In Ossos, the ﬁrst ﬁlm in Pedro Costa’s trilogy, there is a shot in the ﬁrst ﬁve minutes that poses the entire question of the frame and the mask. In the frame we see a young man, played by Nuno Vaz, prostrate in a chair in a vaguely well-appointed living room.
This is how, one day, the idea came up to make a movie in this neighbourhood. 5 At ﬁrst sight, this sounds like nothing more than a pretty anecdote. Yet beyond the anecdotal character, Costa’s recollection indicates a shift on several levels: from the ﬁlm-historical references of O Sangue and Casa de Lava to the social reality of Fontainhas, from ﬁction to documentary, 6 from working under ‘professional’ conditions to working in small communities akin to family contexts. The roots in ﬁlm history that are so clearly sensed in O Sangue are at the time of making the trilogy complemented by a method that draws its energy from a particular location — Fontainhas — and the non-professional actors that Costa has been collaborating with ever since Casa de Lava, in Ossos, In Vanda’s Room and Colossal Youth.
Cit. Translation the author's. In the film we never get to know the surnames of most of the people/actors. html (last accessed on 11 March 2010). 60 | Afterall Pedro Costa, Juventude em Marcha (Colossal Youth), 2006, colour 35mm film, 155min, still. © Pedro Costa This form of realism, one could sum up, is nothing that is simply there to be taken and consumed. It results from an experience of sharing a life and a time, be it with the human beings in Fontainhas or with their portrait on screen that contains their collaborative testimony.
Afterall: A Journal of Art, Context, and Enquiry volume 24 Spring 2010 by Ellen Blumenstein, Jean-Louis Comolli, Céline Condorelli, Doris von Drathen, Nuria Enguita May,