“In Vanda Costa’s room, he recounted the misfortunes and great deeds of the ordinary people of this world. He did so in the noble language of the realist tradition of cinematic narrative inaugurated by Griffith at the beginning of the last century. (…) In discovering Vanda and the Fontainhas neighborhood, Costa found his innermost need, his restlessness, and his method. (…) And thus, cinema experienced one of its last renaissances in a Lisbon suburb, within the walls of a green room. Costa was the first to place a small digital video camera on par with Ozu and Straub, to extract from it the light of Tourneur and reanimate on the screen the primal energy of cinema.” (Cyril Neyrat)