Using a twofold structure, the article focuses on slow cinema as a specific tendency in the categorization of art cinema and on five films by Pedro Costa. It places slow cinema in the context of theoretical debates that deem it politically regressive, on the one hand, and praise its political subversiveness, on the other. By analysing Costa’s representation of home in his Fontainhas trilogy and the use and meaning of off-screen space in his latest films Horse Money (Cavalo Dinheiro, 2014) and Vitalina Varela (2019), the article tries to show that slow cinema is not just snobbish cinephile nonsense and that Costa’s work is an excellent example of its multifaceted nature.

The integral version of this article can be found in the printed KINO!