All the world's a stage
Matías Piñeiro's ROSALINDA engages in role-playing to find the fleeting moments, writes Sebastián Santillán of the Talent Press Buenos Aires 2011.
ROSALINDA.
In its 2010 edition, the Korean festival Jeonju decided to approach the American continent through the Jeonju Digital Project, an initiative that, for a decade, has been exploring the possibilities of digital formats in filmmaking. Following the prestige gained from the collaboration of several of the most renowned contemporary filmmakers (Apichatpong Weerasethakul, Pedro Costa, Tsai Ming-liang, Naomi Kawase and Hong Sang-soo, among others), the festival invited to its last edition Canadian Denis Côté, American James Benning and Argentinean Matias Pineiro. Matias Pineiro presented his medium-length film ROSALINDA, which is now being shown independently at BAFICI.
In the film, the director of THE STOLEN MAN and EVERYBODY LIES sets the stage in Delta del Tigre, where a group of youngsters rehearse the play “As You Like It”, by William Shakespeare, and the boundaries between the characters' lives and the theatrical world begin to fade.
"All the world's a stage, and all the men and women merely players", says the most famous soliloquy in Shakespeare's play. Through a sober staging and a musical performance that sets the pace, Piñeiro (who is now making incursions into theatre direction with the play “And when I stop loving you, it will be chaos again”) reflects on performance and lets his characters engage in seduction and role-playing games, where capturing the fleeting moment continues to be his trademark.
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