“Vitalina Varela”, interview with the director Pedro Costa

In an intimate conversation with Fred Film Radio at the 64th Festival dei Popoli, Pedro Costa, the visionary filmmaker, unravels the mysteries behind “Vitalina Varela“, offering insights into the poetic tapestry of his cinematic creation.

Costa reflects on the genesis of the film, stating, “I think the story started a long time ago when I met Vitalina in Horse Money. I met her in Lisbon; she just arrived from Cape Verde. She was not an actress at that time. We shot a little scene, and I thought, “One day, I will go to Cape Verde. One day, we’ll do this story.’ It started in my mind a long time ago, but we only shot three years ago.”

As the conversation delves into the distinctive aesthetic choices of “Vitalina Varela” , Costa expounds, “The film was made with very few people, very small equipment. We shot it in a very simple way, the way I like to do it“.  This minimalist approach, characteristic of Costa‘s filmmaking, serves to emphasize the authenticity and rawness of the narrative.

Costa sheds light on his collaboration with “Vitalina Varela“, emphasizing the unique nature of their partnership. “She doesn’t act. She is not pretending. She is really there. She is herself. And that’s the only way I like to work. We work together. We find a place for her, we find a place for the camera. We find a place for everything. It’s really finding, searching, and discovering.”

The filmmaker delves into the themes of human resilience and the shadows of life portrayed in “Vitalina Varela“.  “It’s about people who live in the shadows of life. They live in the night. They don’t have jobs; they don’t have work. They have nothing. They are really in the shadows. And ‘Vitalina Varela’ is about these people. They have a big story to tell, and they want to tell it,” explains Costa.

As the interview unfolds, Costa reflects on the poignancy of capturing Vitalina’s story. “I think it’s very important to listen to these people. They want to talk, they want to tell us. They want us to look at them. They want us to listen. They want to show us that they are still alive. That they exist.”

The conversation concludes on a note of poetic resonance as Costa articulates, “Every film I do, I’m trying to make a little poem. I’m trying to say something. I’m trying to do something that I don’t know if it’s possible to do in cinema. I’m trying to find a way to do it.” “Vitalina Varela” stands testament to Costa‘s commitment to cinematic poetry, offering audiences a profound and authentic exploration of the human experience.

Plot