Portuguese director Pedro Costa’s new film is, on the surface, a change from his films set in the working-class neighborhood of Fontainhas in Lisbon, which include In Vanda’s Room and Colossal Youth. A luminous and hypnotic portrait of French singer-actor Jeanne Balibar in recording studios, practice rooms and onstage, Ne change rien emerges, in mostly long takes, as a compelling document of performance as work and as collaborative process. This spirit of collaboration links Ne change rien with Costa’s earlier films, for which he worked closely with the inhabitants of Fontainhas. At the same time, Costas demonstrates his mastery at creating images that are both stunningly beautiful and formally rigorous. In their luster and elegance, Costa’s black-and-white images of Balibar performing recall Sternberg’s work with Marlene Dietrich, even as the use of long blocks of uninterrupted time recalls Warhol.