Change Nothing

A participant in a coup d'état by young commissioned officers, Ventura loses his way within the woods. Eventually, Ventura is admitted into a mental hospital where he has conversations with "ghosts" of the past in the hospital's elevator.

Pedro Costa's segment from the Jeonju film "Memories".

Four voices and their visions of Guimarães, cradle city of the Portuguese nation and European Capital of Culture in 2012.

Previously focused on Asian directors, “Jeonju Digital Project 2007” takes a look at Europe. The Portuguese filmmaker Pedro Costa, the German filmmaker Harun Farocki, and the French filmmaker Eugène Green participated in this project.

Undaunted by a commission to make a film about his mentors and aesthetic exemplars, the filmmaking team of Jean-Marie Straub and Danièle Huillet, Costa records with great sensitivity and insight the exacting process by which the two re-edit their film Sicilia!, discussing and arguing over each cut and its effect. Incorporating comments about the influence of figures as diverse as Chaplin and Eisenstein, about the ethical and aesthetic implications of film technique and such matters as rhythm, sound mixing, and acting. The film becomes a tour de force, immersing us in the mysteries of cinema as practiced by some of its greatest creators. Costa calls the film both his first comedy and his first love story.

Pedro Costa's segment from "O Estado do Mundo".

An unflinching, fragmentary look at a handful of self-destructive, marginalized people, but taking as main focus the heroin-addicted Vanda Duarte.

Pedro Costa's first short film.

Pedro Costa's 2006 installation Little Boy Male, Little Girl Female is made up of additional footage from In Vanda's Room and Colossal Youth. Interior and exterior spaces in Fountainhas are set side by side. Editing the images is left up to the viewer.