Films of pedro costa: producing and consuming contemporary art cinema

Abstract

namely White God (Kornél Mundruczó, 2014), which also features on the volume’s cover. In one of the book’s stronger chapters, Galt makes a compelling case for the need to study the aesthetics of mood in European cinema. This chapter supports the claim that it is important to write about Europe and European cinema as meaningful units, even when the analysis departs from single filmic examples. If a European transnational approach is still relevant for contemporary film analysis, so is a study of the permanent and successive crises that the world is likely to experience in coming years. Power imbalances, unequal access to information, the relationship between modernism and the present era, and the figures of the migrant and the worker, are as important to the cinemas of the early twenty-first century as they are a decade later. What Covid-19 has showed us is that many of these are pressing issues for contemporary society in Europe and the world, and it is in this sense that this book is a welcome addition to the scholarship about the complexity of contemporary film.