I haven’t come across a filmmaker with an almost Ozu-like dedication to the static shot as Pedro Costa. Throughout his examination of the people and places in the Fontainhas Neighborhood in Lisbon, Portugal, we get an almost painterly experience throughout his films. A gallery of frames, sculptures, contained spaces with some moving parts, but mostly still, as they are, in real time, decaying before our very eyes. His characters too, hardly moving and even when in extensive conversation rarely looking at each other or at anything in particular really; mannequins, furniture, remnants of the slowly dying surroundings which they have inhabited their whole lives. Even the clean polished apartments, which Ventura, Costa’s central character in the beautifully understated film Colossal Youth, is being forced into moving into as his slum community is being demolished, look lifeless and dead. The white walls are not really that white, the clean corners are not really that clean. As the “realtor” explains the beauties of the area, Ventura quietly points to a cobweb near the ceiling and matter-of-factly states “there’s spiders everywhere”.
Costa is as much of a visual filmmaker as anybody, but his visuals are not really associated with what we normally see and are used to as ‘cinema’, but more a combination of performance art and modernist sculpture. Lighting plays a role almost opposite that used in the films of Aki Kaurismaki. Kaurismaki puts spotlights on actors to illicit the feel of a theatrical performance, highlighting a dramatic space but then subverting it with a typical Finnish dead-pan subtlety. Costa’s lighting is simply part of the aesthetic. It isn’t highlighting the characters, but blending them into their surroundings. They are part of the scenery, just as much a piece of the greater painting as the furniture or walls they stand beside.
Even as characters shift around and pass by places, the camera and lighting doesn’t follow them. Our eyes and attention is constantly being guided to the details of the buildings, the inanimate monoliths, walls, staircases, roofs, street-corners, alleyways, and witnessing their death in real time. All the scratches, mold, chipped paint, dirt, mud, dust, everything signaling the passing of life. The only time the camera moves throughout the entirety of Colossal Youth is the two sequences in which Ventura sits in a park… the only two places he ever visits which exhibit a sense of vibrant living, a fight for life and against death… organisms, trees, birds, worms, nature at work constantly living, never stopping, never still.
The beautifully decaying images of Pedro Costa’s Colossal Youth: