Matias Piñeiro’s Isabella opens with nested rectangles of resplendent color, creeping across the chromatic spectrum, oscillating between darkness and light, and then settling on purple, a visual analogue to equilibrium, as we’re informed by a voiceover. This sort of interdisciplinary filmmaking–it’s later clear that these geometrically presented hues are part of an installation work–adds a new wrinkle to Piñeiro’s already extracurricular filmmaking. For the past decade, the director has transposed (“adapt” is too exact and limiting a term) Shakespeare in contemporary Buenos Aires, where performance is yet another casual layer of obfuscation in films that slip between the crevices of the larger, everyday world of the film, and the play within. In keeping with this playful inscrutability, films like Viola (2012) and The Princess of France (2014) are enveloped in a hazy color palette, lit with phosphorescent stage lights and punctuated by intimate closeups that emerge from scattered shadows.
- 8/22/2021
- MUBI
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