There are filmmakers who draw the same motifs and plot points through every movie, like an artist who works with one brush and one set of watercolors, so that with every new picture, the colors become more intermixed. The prolific South Korean writer-director Hong Sang-soo (Right Now, Wrong Then, The Day He Arrives) is the most notorious example of this today, as half or more of his movies are about the romantic travails of backpack-wearing alter egos (often arthouse filmmakers) who are only in town briefly and could really use a drink and some company. A less extreme case is Matías Piñeiro, the Argentine writer-director of The Princess Of France, Viola, and Rosalinda, small films that revolve around Shakespeare plays being adapted or rehearsed by troupes of young artists. Although it’s largely set in New York City instead of Piñeiro’s usual Buenos Aires and leans less on the...
- 5/25/2017
- by Ignatiy Vishnevetsky
- avclub.com
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