Women from Shakespeare’s oeuvre find themselves reincarnated in modern-day South America through the recent works of Argentine director Matías Piñeiro, which operate with non-linear structures concentrated on the intersection between the professional and intimate lives of actresses or aspiring artists.
His unassumingly sumptuous new feature Isabella–which channels the central sister-brother dilemma in the British author’s Measure for Measure–examines two women’s unexpressed self-doubt, their aversion to risk, and conflicted career aspirations in an initially puzzling but ultimately rewarding fragmented narrative.
From one shot to the next, Mariel (María Villar), a teacher and thespian who’s been down on her luck for some time, goes from being noticeably pregnant to showing no signs of said state—a clue denoting we are rapidly jumping across distinct timelines. Throughout the film, its circuitous assembly toys with the past and the present to reveal key pieces of information for us...
His unassumingly sumptuous new feature Isabella–which channels the central sister-brother dilemma in the British author’s Measure for Measure–examines two women’s unexpressed self-doubt, their aversion to risk, and conflicted career aspirations in an initially puzzling but ultimately rewarding fragmented narrative.
From one shot to the next, Mariel (María Villar), a teacher and thespian who’s been down on her luck for some time, goes from being noticeably pregnant to showing no signs of said state—a clue denoting we are rapidly jumping across distinct timelines. Throughout the film, its circuitous assembly toys with the past and the present to reveal key pieces of information for us...
- 2/29/2020
- by Carlos Aguilar
- The Film Stage
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