Think about one of those Ingmar Bergman's hysterical female characters as if caught in an Ozu-ian family comedy-drama, directed by Straub and Huillet occasionally paying an homage to Bresson! Then, you may get a quick glimpse of what Schanelec is doing with I Was at Home, But... in her very own non-conformist refined style.
I am totally amazed how Costa radicalizes his previous works and strip them down even more than before to their very essential core through Vitalina Varela. As if, each new film for Costa is an absolute act of purification and refinement.
Costa looks into the darkest depths of an abyss, a phantom-space and a realm of the living dead to observe wandering human-ghosts and lost shadow-borns. And yes, here, the black color plays a definitive role - both materially and spiritually - as much as the white color was to Dreyer or Bresson.