Key.

A: Corpus. A definitive part of the corpus which embodies both the aesthetic style of Slow Cinema and the conceptual element of my thesis.

B: Influence on Corpus. A film which has either directly or in-directly influenced a film or filmmaker which contributes to my corpus.

C: Peripheral Corpus. A film which has neither been an influence of the corpus nor contains the key aesthetical requirements to be a part of the corpus, yet can fairly be labelled as capturing the spirit of Slow Cinema.

D: Non Corpus. A film made by a filmmaker who is either part of the corpus or has been an influence on the corpus, or even influenced by the corpus yet doesn’t meet enough of the aesthetic requirements to be a part of the previous three groups.

In Vanda's Room

Trailer for In Vanda's Room



Directed by Pedro Costa
Released in 2000
Running Time 170 mins
Country of Origin Portugal/Germany/Switzerland/Italy

Reasons for watching: Pedro Costa is noted for his use of very long static shots. In Vanda's Room (Costa, 2000) is the second part of Costa's Letters from Fontainhas trilology which focuses on the drug infested Lisbon slums of Fontainhas. The films which complete the triolgy are Ossos (Costa, 1997) and Colossal Youth (Costa, 2006).

Usefulness: The film is a fictionalised documentary that was the result of an extensive amount of time spent by the director and his living alongside and observing heroin addict Vanda Duarte. Much like Colossal Youth (Costa, 2006) the lack of forward momentum provided by a strong narrative leaves the viewer observing the everyday emptiness of the protagonists existence. The films use of extended scenes force the viewer to at first, experience the nothingness of the slum and then to recognise and empathise with the people who inhabit these spaces.

Verdict: A
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