One confronts many of the same formal questions with both directors’ films: a foundational use of documentary elements, deployed in such a way that a line between fiction and documentary isn’t easy to find.
Nearly four decades after the film’s original release, One from the Heart continues to stand for many as the breaking point in the director’s career, dividing triumphs like The Godfather from follies like The Godfather Part 3.
In building the film on a scaffold of Vitalina’s half-remembered stories, Costa ignores distinctions between reality and unreality, truth and fiction.
There’s Gary’s single question on one side of the mic, and a shared experience on the other.
As VIFF’s Year-Round programmer, I can assure you that “exclusive” bookings are not only a very real thing, but are, in fact, standard business practice.
Richardson is a symbol of a lost Black queer archive inaccessible to future generations of Black queer filmmakers.