Connect with us
Vitalina Varela review
Image: Sundance

Film

Vitalina Varela Is a Love Letter to Faces

Pedro Costa’s fascinating metafictional work tells one woman’s story of loss and abandonment, but her face is the true star.

Sundance 2020: Shirley

I become an obsessive note scribbler when I review a film. I try to write down everything that pops into my head, whether it’s a profound insight or, more commonly, a banal observation. At the end of Pedro Costa’s Vitalina Varela, I had written only two words: “Her face!” (with double underlines). Costa’s slow yet engrossing metafictional work is filled with sumptuous textures and overwhelming emotions, but the film’s star, Vitalina Varela, is its most fascinating component. She has a face that cries out to be painted, one that makes her emotions seem almost Olympian, and Costa is perhaps the only filmmaker who could do her justice.

The Portuguese filmmaker has almost exclusively relied on non-professional actors over the past decade-and-a-half, and Vitalina Varela is no different. His lead actress previously appeared in a small role in 2014’s Horse Money after he discovered her while scouting locations. After hearing or story of loss and abandonment, Costa created a film based around her experiences. Vitalina Varela features his signature style and expressionistic visuals, but it might as well be a documentary for how closely it follows the contours of her life. The real-life Vitalina was a Cape Verdean native whose husband left over 25 years before the events of the film for Portugal in hopes of making a better life for them. But their life back home calls that motive into question. The two built a stunning 10-bedroom home for themselves back home, which was a luxury compared to the decrepit shack that he lived in in the shantytown Fontainhas, just outside of Lisbon. Vitalina was meant to join him, but the money for a plane ticket never materialized for over 25 years, and when she finally makes the journey to Portugal it’s three days after he has died under mysterious circumstances, and she’s too late to even make the funeral. As she talks to her husband’s neighbors she learns unsavory details about his life abroad, yet she’s determined to stay in this new country.

Vitalina Varela
Image: Sundance

Costa film’s Vitalina’s acclimation to Fontainhas in achingly slow scenes which will test the patience of many viewers. But those who get on his wavelength (and have a coffee beforehand) will be absorbed in his painterly compositions. He and his cinematographer Leonardo Simões photograph the slum interiors (none of which seem to have electrical lighting) in bursts of faux sunlight and moonlight almost exclusively, giving the events a ghostly character. It’s only in the last few scenes that we see Vitalina outside in the daylight, and the camera is allowed to expand beyond the claustrophobic confines of her building. The stunning lighting also directs our attention squarely on her face, which shimmers with loss and regret. Like Maria Falconetti in The Passion of Joan of Arc (1928), she has a face that conveys everything we would ever need to know of her story. Luckily, Costa understands that and lets it do the talking.

The Sundance Film Festival runs from Jan. 23 – Feb. 2, 2020. Visit the official website for more information.

Watch Vitalina Varela

Now Streaming

Written By

Brian Marks is Sordid Cinema's Lead Film Critic. His writing has appeared in The Village Voice, LA Weekly, The Los Angeles Times, and Ampersand. He's a graduate of USC's master's program in Specialized Arts Journalism. You can find more of his writing at InPraiseofCinema.com. Best film experience: driving halfway across the the country for a screening of Jean-Luc Godard's "King Lear." Totally worth it.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Facebook

Trending

50 Best Seinfeld Episodes 50 Best Seinfeld Episodes

50 Best Seinfeld Episodes

TV

The Big Lebowski The Big Lebowski

25 Years Later: Aggression Will Not Stand in The Big Lebowski

Film

The Academy Awards: The Best Picture Losers The Academy Awards: The Best Picture Losers

50 Best Movies That Did Not Win Best Picture at the Oscars

Film

The Academy Awards: The Best Picture Losers The Academy Awards: The Best Picture Losers

50 Best Movies to not Win Best Picture at the Oscars

Film

Blueback film review Blueback film review

Blueback Doesn’t Dive Deep Enough

Film

The Last of Us Look for the Light The Last of Us Look for the Light

The Last of Us Season One Ends the Only Way It Knows How with “Look for the Light”

TV

One for The Birds — Hitchcock’s Masterpiece at 60 One for The Birds — Hitchcock’s Masterpiece at 60

Second Wing: Another Look at Hitchcock’s The Birds

Film

Brother movie review Brother movie review

Brother is a Well-acted but Overwrought Account of 1990s Scarborough

Film

Dungeons and Dragons: Honor Among Thieves movie review Dungeons and Dragons: Honor Among Thieves movie review

Dungeons and Dragons: Honor Among Thieves Delightfully Returns the Fantasy Blockbuster to Form

Film

The Last of Us When We Are in Need The Last of Us When We Are in Need

Everyone’s a Monster In The Last of Us “When We Are in Need”

TV

One for The Birds — Hitchcock's Masterpiece at 60 One for The Birds — Hitchcock's Masterpiece at 60

One for The Birds — Hitchcock’s Masterpiece at 60

Film

Inside Movie Review Inside Movie Review

Being Trapped Inside with Willem Dafoe’s Art Thief is (Mostly) Great

Film

Roberto Benigni at the 71st Academy Awards Roberto Benigni at the 71st Academy Awards

The Most Iconic Moments at the Oscars

Culture

The Mandalorian: Grogu’s Most Adorable Moments The Mandalorian: Grogu’s Most Adorable Moments

The Mandalorian: Grogu’s Most Adorable Moments

Culture

Idiot’s Delight – Happy 25th, Big Lebowski Idiot’s Delight – Happy 25th, Big Lebowski

Idiot’s Delight – Happy 25th, Big Lebowski

Film

John Wick: Chapter 4 Review John Wick: Chapter 4 Review

John Wick: Chapter 4 Is an Action Epic for the Ages

Film

Connect