Locarno Film Festival | 2019
"One of the biggest challenges was to work with non-professional actors. In the end, they were very genuine and generous in their improvisations."

Dir. José Filipe Costa


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This joyous rallying cry is that of the generation of '68, the one of hedonistic utopias and libertarian principles.

Hi José, thanks for talking to TNC, how are you doing?

I'm doing well, thanks.

What does it mean to you to be at Locarno Film Festival with Prazer, Camaradas!?

An opportunity to share my film with a different audience 

Do you ever get nervous sharing your films with festival audiences?

It’s always difficult to preview the audience’s reactions and this will be the first time the film will be shown 

Can you tell me a little bit about Prazer, Camaradas!, what can we expect?

Expect people who are not professional actors in their 60s or 70s doing the role of young people, reacting as if they were in 1975. 

What was the inspiration behind this film?

There are a lot of documents about the experience of foreigners and some Portuguese working in the cooperatives in the centre of Portugal, between 1975 and 1976. They tell us about the concepts they had on matters of intimacy, sexuality, the role of the women, etc. The film uses it as points of departure to dramatise stories with non-professional actors.

"The collaboration was a keyword for creating this film..."

What was the biggest challenge you faced bringing Prazer, Camaradas! to the screen?

One of the biggest challenges was to work with non-professional actors. In the end, they were very genuine and generous in their improvisations.

How important is creative collaboration when creating a film like this?

The collaboration was a keyword for creating this film, as we didn’t know how the actors would react to the proposals we had in mind. They were eager to participate and give their contribution to the film and this makes a huge difference. 

Have you always had a passion for filmmaking?

I remember having a strong interest in filmmaking in secondary school and some of my teachers encouraging this. 

What was the first film you worked on?

It’s called Senhorinha and it's about an old lady who didn’t how to read and write, but he recorded her impressions and poems in a sound recorder. 

Has your approach to your films changed much since your debut?

A lot and it’s still changing when I make a new film. 

Do you have any advice or tips for any emerging filmmakers?

One of my advice: if you can watch a lot of no-mainstream films. 

And finally, what do you want your audiences to take away from Prazer, Camaradas!?

A pleasurable joy and some thoughts on intimacy, sexuality and the role of the women.  

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