New York-based Argentinian director Matiás Piñeiro’s work is without a doubt, a celebration of intertextuality. After continuously exploring the female roles in Shakespeare’s comedies from 2011’s Rosalinda up until 2020’s Isabella, he was drawn to a text which seemed impenetrable, admitting he had no clue how to film a poetic dialogue. In order to collect the shots for the adaptation-film-collage that would become You Burn Me, the filmmaker traveled between New York and San Sebastian, which gave him the possibility to “develop the material, watch it and think […]
The post A Film To Read: Matiás Piñeiro, Tomas Paula Marques and Gabi Saidón on You Burn Me first appeared on Filmmaker Magazine.
The post A Film To Read: Matiás Piñeiro, Tomas Paula Marques and Gabi Saidón on You Burn Me first appeared on Filmmaker Magazine.
- 4/25/2024
- by Savina Petkova
- Filmmaker Magazine - Blog
New York-based Argentinian director Matiás Piñeiro’s work is without a doubt, a celebration of intertextuality. After continuously exploring the female roles in Shakespeare’s comedies from 2011’s Rosalinda up until 2020’s Isabella, he was drawn to a text which seemed impenetrable, admitting he had no clue how to film a poetic dialogue. In order to collect the shots for the adaptation-film-collage that would become You Burn Me, the filmmaker traveled between New York and San Sebastian, which gave him the possibility to “develop the material, watch it and think […]
The post A Film To Read: Matiás Piñeiro, Tomas Paula Marques and Gabi Saidón on You Burn Me first appeared on Filmmaker Magazine.
The post A Film To Read: Matiás Piñeiro, Tomas Paula Marques and Gabi Saidón on You Burn Me first appeared on Filmmaker Magazine.
- 4/25/2024
- by Savina Petkova
- Filmmaker Magazine-Director Interviews
For those unfamiliar with Matías Piñeiro’s beguiling series of post-modern Shakespeare riffs, “Isabella” probably isn’t the best place to start. Another sensual and freeform meditation on the subjectivity of the Bard’s women and the actresses who play them, the Argentinian filmmaker’s latest isn’t any more abstract than its predecessors “Viola,” “Hermia & Helena,” and “The Princess of France” (though it certainly isn’t any more accessible), but its inviting lushness and color are offset by a sense of finality, as if Piñeiro is reaching the end of a decade-long infatuation and looking for the strength to pull the ripcord.
His movies stubbornly resist the word “about” in all but the most abstract meaning of the word, but “Isabella” all but announces itself as a tale of uncertainty; an interest that it borrows from the Shakespearean “comedy” that possesses Piñeiro’s contemporary Argentinian women like a wandering spirit.
His movies stubbornly resist the word “about” in all but the most abstract meaning of the word, but “Isabella” all but announces itself as a tale of uncertainty; an interest that it borrows from the Shakespearean “comedy” that possesses Piñeiro’s contemporary Argentinian women like a wandering spirit.
- 9/24/2020
- by David Ehrlich
- Indiewire
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