Pedro Costa quits his history studies to follow the lessons of the poet and filmmaker António Reis at the film school in Lisbon. His films, strongly anchored in local realities, are based on friendships that often take place on the margins of society: From the inhabitants of Lisbon's suburbs (O Sangue, 1989; Ossos, 1997; In Vanda's Room, 2000) to the Cape Verdean diaspora (Casa de Lava, 1994; Cavalo Dinherio, 2014; Vitalina Varela, Golden Leopard and Best Actress Award, Locarno 2019) to portraits of artists (Où gît votre sourire enfoui? about Danièle Huillet and Jean-Marie Straub; Ne change rien with Jeanne Balibar). Costa's work questions how capitalism (de)constructs reality and favours a small-scale economy with unique modes of production. His radical work has gained a permanent place at international festivals (Cannes, Venice, Locarno...), in cinematheques and museums.
© João Pina
- Shorts : Cartas a Júlia (1984) – 6 Bagatelas (2001) – The End of a Love Affair (2003) – Minino macho, minino fêmea (2005) – State of the World (2007, "Tarrafal" segment) – A Caça ao Coelho com Pau (2007) – O Nosso Homem (2010) – Centro Histórico (2012, "Sweet Exorcist" segment)
- Features : O Sangue (1989) – Casa de Lava (1995) – Ossos (1997) – In Vanda's Room (2000) – Where Does Your Hidden Smile Lie ? (2001) – Colossal Youth (2006) – Change Nothing (2009) – Horse Money (2014) – Vitalina Varela (2019)