Is the film itself his own patient? And if so, what can Costa do once the film wakes up on its own, without his help or input? Answer: The same thing we can do. He can watch..….
As things stand, and no doubt because of the improvisation, the film breaks up and gradually atrophies into fragments and mini-plots, a little bit like Muriel or Petulia. But, come to think of it, I Walked With a Zombie also winds up subverting the very notion of a consecutive, coherent plot. Here one could almost say that each beautiful composition—-that is to say, each shot—-tells a separate story. Put them all together and they might seem to resemble the lengthy tracking shot that follows Mariana’s stride through the village, at once purposeful and aimless, as various obstructions pass and periodically block our vision. Now we see her, now we don’t–and neither we nor she seems to know where she’s headed. Jonathanrosenbaum.com
A beautiful, strange exotic fable following a an immigrant injured labourer who is sent home from Lisbon with a Portuguese nurse to the Cape Verde Islands whilst still in a coma.Part improvised, part scripted, Costa Has created a rich and visually stunning study of exile and isolation.Proof that holding the door open to ideas and digressions through improvization even when dealing with politically sensitive subjects such as the impoverishment of colonialized islanders, can yield great dividends. An important film in Costa's career, standing as a bridge between his early pictorial asceticism (O Sangue and Ossos) and his astonishing epic/intimate studies of the dispossessed immigrants communities of Lisbon.