cinephile Gossip. was kidnapped ten years ago by her mother, the Portuguese director Teresa Villaverde, - Quite unexpectedly, the film ends with a dedication to the daughter of the director, which - which claims the dedication. Wikipedia is not much more credible, Although there are more details , but no references, more (also the film) there are on Jon Jost's blog and in a press statement . Before Imagens de uma cidade perdida I had not seen a film by Jost, of Villa Verde I still know nothing. Imagens ... Lisbon is a portrait and very great. Based
has Jost 1996/97, when he lived in the city, because of the Villa Verde and other private problems (in the Q & JJ), he has ventured out shortly before the festival at the intersections. The film is shot with one of the first digital cameras, which were freely available. Imagens de uma cidade perdida sees incredibly well made, certainly in comparison with today's Stadarts digital cinema productions. Jost seems the new technology to have dominated at first, some settings look the way I imagine colored Lav-Diaz movies, the color is not exalted, does not add vitality, it is more like something Anesthetic above it all. Often the compositions are off center slightly, some pictures are taken, the spatial orientation is difficult (especially one in a street cafe, which opens on sonbderbare way to the city
The graininess of old celluloid (or more accurately. Of the 16mm material had worked mainly with the Jost to mid 90's) is not fully disappeared - as in the ugly look of the HD-present - but transformed into a different, coarser, harder, but not necessarily less beautiful kind of texture that occurs between the viewer and gently Süjet.
Most settings are static and take relatively long. In most cases, narrow, steep streets, cobbled squares, people and small groups of people in Lisbon historic center. No fixed mounting structure, but some patterns are repeated: View of a street / intersection on a different subject / view of the road from a slightly shifted perspective. Occasionally, the camera starts to move, mostly passive. Shut off is anything anyway, but Jost cuts not the reactions of passers-by to discover the camera away. As a result, actual production unobtrusive writes in the film itself. The Biographical remains, except for a brief moment outside. Used sparingly to Portuguese music and references (such as Fernando Pessoa). Two extended scenes show how a cobblestone will be tapped, which is perhaps a picture that makes the film of his own making, as sounds and images arranged and finalized. A very pleasant, in no way intrusive film Imagens de uma cidade perdida . Jost I would now like to see more. By Teresa Villaverde, of course.
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