The emergence of Pedro Costa’s films into American cinematic consciousness remains something of a conundrum that discerning audiences continue to wrestle with. On the one hand, for those who desire for a radically unconventional cinema as far from Hollywood (geographically, aesthetically, ideologically) as one can get, for those who seek respite from the increasingly conventional American “independent” cinema, and for those tired of “global cinema” and its associated mandate of universal accessibility, Costa seems to be the pill to quell cinematic frustration.