To offer a reductive description of Pedro Costa’s Horse Money for those unfamiliar with it or him as a filmmaker, imagine the following: Labyrinth, except Jennifer Connelly is now an elderly Cape Verde immigrant named Ventura, the labyrinthine dream world is a succession of purgatorial hospital hallways and broken streets, the Jim Henson puppets are replaced by the sorrowful ghosts of lost Portuguese souls, and the looming presence of David Bowie is instead the spectre of Portugal’s socio-political climate. That old, familiar tale…

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