
"The time is now, a numbing and timeless present of hospital stays, bureaucratic questioning, and wandering through remembered spaces... and suddenly it is also then, the mid '70s and the time of Portugal's Carnation Revolution, when Ventura got into a knife fight with his friend Joaquim." This is the synopsis from the press notes. The film is a sequel of sorts to Costa's "Colossal Youth" with Ventura again playing himself.... (Full plot summary below)
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"The time is now, a numbing and timeless present of hospital stays, bureaucratic questioning, and wandering through remembered spaces... and suddenly it is also then, the mid '70s and the time of Portugal's Carnation Revolution, when Ventura got into a knife fight with his friend Joaquim." This is the synopsis from the press notes. The film is a sequel of sorts to Costa's "Colossal Youth" with Ventura again playing himself.
Leave your thoughts about Horse Money.
| Sight and SoundNick PinkertonIt's a film of people who begin and end their days by night, living and dying known and remembered by a precious few, displaying their beauty, their only inalienable property. |
| SensacineCarlos LosillaSeeing this movie is like if film history happening before your eyes. [Full review in Spanish] |
| Cinemanía (Spain)Daniel de Partearroyo[A] sculptural, molded and moving film. [Full review in Spanish] |
| Film Comment MagazineJonathan RomneyHorse Money is an inspired reminder that politically rooted cinema needn't just inhabit the realm of the strictly real; it can have an unconscious too, a dream dimension haunted by ghosts. |
| Huffington PostBrandon JudellIf you are in the mood for self-indulgent befuddlement, although a befuddlement with grand intentions . . . the summing up of an impoverished life and world . . . this one's for you. |
| The Film StageEthan VestbyHorse Money is likely the Costa film that best exemplifies the influence of classical Hollywood genre cinema on his work. |
| Empire MagazineDavid HughesVisually striking, intellectually challenging and emotionally harrowing. |
| HeraldNet (Everett, WA)Robert Hortonosta's impoverished landscape is visualized in a series of beautifully composed, carefully lighted images. |
| NewcityRay PrideTableau succeeds tableau, connections elided, meaning elusive. There is poetry and there is impatience. There are silences. |
| Chicago TribuneMichael PhillipsThe director has plenty of influences, Stanley Kubrick and Old Hollywood classicists such as John Ford among them. But his style is his own: exacting, but dreamlike. |