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March 31, 2010


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Glenn, about your first screening of Colossal Youth - I had a very similar experience when it played last year(?) at MOMA. I was hungry, it was late, and although I wanted to leave about an hour in, I stuck it out (mostly because I was with friends and had to save face), and was pretty damn miserable by the end. And to top it off, someone stole my umbrella during the show - some member, that is, of a probably 30-person audience of what one would assume would be serious cinephiles, not dirty rotten thieves.

Anyway, although I bickered w/ my companions about the film, certain images have stuck with me since then, and I knew I would have to watch it again under better conditions. It's good to see it's available, along with others.

Jason M.

Alright, Glenn, you just shamed a silent Costa fan into commenting here. (Love the MoC Pialat DVDs as well, but haven't yet seen 'Sous le Soleil du Satan', so no comments there).

Seen Colossal Youth three times now, and saw the other Costa films at the Anthology retro a few years back, and the still of Ventura that you used above made me re-realize how much I love this film. There's been a lot of talk about the difficulty of Colossal Youth (and it is a challenging film, not going to argue otherwise), but it seems that relatively little has been said regarding the film's beauty. I'm sure this will sound a bit odd, but almost every time I've seen an image from Colossal Youth over the past few years, my heart has quickened a bit at the gorgeous light and compositions, and while that happens occasionally with some of my favorite films, I've never experienced that with anything shot on DV. Costa's amazing eye for light and shadow in this movie (though frankly, there's been plenty of evidence of this since 'O Sangue') is almost unparalleled in contemporary films.

Also, 'Where Does Your Hidden Smile Lie?' might be the best film ever made about the craft of film editing, and with the passing of Danièle Huillet, the final shot has a real emotional kick to it. Certainly one of the great films about filmmaking.

Matt Prigge

God, not to nitpick, but I'm pretty/very sure the version of Wire's "Lowdown" played during Ossos is the one on Pink Flag, not a live version. I could check with the dub I have, but I'm really, very sure.


...and then I keep reading and you say the film plays both versions. Oi. DISREGARD. Point, ultimately, being that Wire is even better than the show The Wire.

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