Parisian by way of Soviet Georgia, director Otar Iosseliani, whose new film Winter Song premiered this past week at the Film Society of the Lincoln Center’s Rendez-Vous with French Cinema, is what one might refer to as a citizen of the world.
Since the release of his 2004 feature debut The Face You Deserve, Portugal’s Miguel Gomes has become arguably the most exhilaratingly perplexing figure in world cinema.
If the 53rd New York Film Festival is any indication, the world’s filmmakers are feeling the heat.
“How do I know?” asks a character standing in for author Clarice Lispector in “Before the Rio–Niterói Bridge,” included in New Directions’ recent release of The Complete Stories. “I know the same way you do by imaginative guessing. I know, period.”
The history that underlies and often possesses Pedro Costa’s Horse Money, the final entry in the director’s Fontainhas tetralogy, is almost ironic – more than two decades in, Costa’s project has outlived its subject, the titular Lisbon slum now demolished by the Portuguese authorities.