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Horse Money(Cavalo Dinheiro)

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Portugal · 2014
1h 44m
Director Pedro Costa
Starring Ventura, Vitalina Varela, Tito Furtado, Antonio Santos
Genre Drama

Ventura relives his past in the shadowy barren landscape of Fontainhas, greeted by people from his memories as he is brought back to the day of the military coup of 1975. Slippery chronology forces Ventura to pass through madness as he searches for a kind of catharsis, both personal and historical.

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What are critics saying?


The New York Times by Ben Kenigsberg

The puzzle-box narrative only grows more hypnotic with repeat viewings. The movie insists on having the audience, like Ventura, pass through madness to reach catharsis.


CineVue by Ben Nicholson

It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal.


Time Out by David Ehrlich

Horse Money is an ordeal, but you’ll be glad that Costa was there to help Ventura’s words find their way through the cracks.


IndieWire by Eric Kohn

A rich, almost impermeably strange example of Costa's slow-burn approach to abstract storytelling, Horse Money is more subdued and cryptic than its predecessors, to the point where it might be more appropriately described as a cinematic tone poem.


The A.V. Club by Ignatiy Vishnevetsky

Sleepwalking through a role is just about the worst insult you could level at an actor, professional or otherwise, but that’s more or less what Ventura — again playing a poetic representation of himself — does here.


The Hollywood Reporter by Neil Young

A phantasmagorical vision of psychological purgatory, Horse Money (Cavalo dinheiro) will enrapture some while leaving others dangling in frustrated limbo.


The Playlist by Nikola Grozdanovic

Tremendously evocative and inherently enchanting, Horse Money is one of the year’s most profound films and an essential step forward for both Ventura the Cape Verdean, and Pedro Costa the artist.


Variety by Scott Foundas

Working about as far as possible from the commercial mainstream of the movie business, Costa has again made a singular docu-fiction hybrid that defies classification as readily as it reimagines the possibilities of cinema for the post-spectacle, post-theatrical era.


Slant Magazine by Steve Macfarlane

Costa's storytelling is illusory at best, but Horse Money's self-contradictions are communicated not via plot half as much as in scenography, even in the costuming.

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