Index. Viola (2012) Review by:Carson Lund.
The Seventh Art: A Video Magazine About Cinema. Matías Piñeiro is an Argentinian filmmaker who has directed three feature films and one 40-minute short, which was commissioned for the Jeonju Digital Project.
His first two films, The Stolen Man (2007) and They All Lie (2009), introduce the games played with narrative, the engagement with the relationship between film and literature, and the interest in artistic communities that exist throughout his uniformly strong filmography, which is equal parts formally complex and lightly comedic exploration of human behaviour.
The Cinema of Matias Piñeiro: As You Like It. The latest of the talented young-ish filmmakers to emerge from the independent film culture of southern South America, 31-year-old Matias Piñeiro arrives here with what seems to be a fully developed style and distinct set of interests.
“El hombre robado” (The Stolen Man, 2007), a sort of romantic farce set in a museum from which the characters are pilfering antiquities, and “Todos mienten” (They All Lie, 2009), which conflates art forgery with fiction-making and the historical record, are showing this weekend, July 13 and 14, as part of the Latinbeat series at Lincoln Center.
Set in a vague urban bohemian milieu, they evoke Jacques Rivette or early Raul Ruiz in their elaborate, literary conspiracy games and Eric Rohmer in their fondness for talkative young people, mainly women. 20 Directors to Watch - Multimedia Feature. Strange Capers: Wordplay with Matías Piñeiro. Matías Piñeiro at New Directors/New Films.
Photo: Samantha Thomas Among the diverse array of films on offer, this year's Latinbeat film festival will feature a special spotlight on the exciting work of young Argentinean director Matías Piñeiro. His films The Stolen Man and They All Lie will be screening this weekend, while his most recent film, Viola (ND/NF '13), will be playing with the short Rosalinda in an extended theatrical run starting Friday. His talky, female-centric films explore theater and literature, using the works of Domingo Faustino Sarmiento (Argentina's seventh president) and William Shakespeare.
Latinbeat Goes Mad for Matías. Posted by Tiffany Vazquez on May 21, 2013 in Announcements • Latinbeat • Film Society Matías Piñeiro at a Q&A for Viola during this year's New Directors/New Films film festival.
Photo: Samantha Thomas The Film Society of Lincoln Center will showcase the work of Argentinian filmmaker Matías Piñeiro during the upcoming Latinbeat film festival (July 12 – 21) and will simultaneously open two of his films, Viola and Rosalinda, on July 12. Latinbeat will host the New York premiere of Piñeiro’s 2007 film The Stolen Man/El Hombre Robado and 2009 film They All Lie/Todos Mienten. The L Magazine - New York City's Local Event and Arts & Culture Guide. Cinemas and national cinemas. Abrir Puertas y Ventanas (2011), by Milagros Mumenthale Abrir Puertas y Ventanas, by Milagros Mumenthaler (Argentina, 2011); Viola, by Matias Piñeiro (Argentina, 2012)by Filipe Furtado There’s no worse scenario for a national cinema than becoming a genre.
The apparent gains with international financing and selection to the world’s main film festivals are followed by an asphyxia that dominates every film, with the exception of those few gifted with enough personality to resist the pre-approved shortcuts (one can think about the calcification of Romenian cinema these past few years). This is a very perceivable issue with recent Argentinean cinema, with films like El Custodio (Rodrigo Moreno), La Rabia (Albertina Carri) or El Otro (Ariel Rotter) revealing themselves as almost interchangeable in their adherence to the same two or three pre-established procedures. TIFF 2012. Correspondences #6 on Notebook. Above: Viola.
Dear Fern, With the De Palma and Anderson, and then later the films by Bellocchio and Malick, defining “direction” indeed has become a key discussion point at the festival this year. Bellocchio's Dormant Beauty, as you indicate, is the special case: quite simply he directs the shit out of that movie. The screenplay and “hot button” topic are structural and political fodder for introducing and then orchestrating and nimbly evolving this engrossing melodrama of morality, Catholicism, contemporary Italian politics, media images and multiple characters across churches, hospitals, mansions, clandestine government backrooms, television performances, protests and seedy motel rooms. The film was compulsive; it was impossible not to get caught up in its energetic valences. Where More Meets MORE: The 37th Toronto International Film Festival. “Where OMG Meets WTF”.
This was the first tagline I spotted at the 2012 Toronto International Film Festival. Others included “Where Fantasy Meets Reality”, “Where Indie Meets Epic”, “Where Wow Meets Huh?” Viola. The phrase "deceptively simple" gets tossed around a lot, usually as a way of signifying that something large and ostentatious can be pared down into a more essential non-complexity.
It's tempting to call Viola "deceptively simple. " But in truth, the film merits an opposing, if perhaps even more redundant, superlative. Both its effortless pleasure and the budding mastery of Argentine director Matías Piñeiro proceed, in no small part, from structural subtlety. Viola is deceptively complex. Piñeiro's third feature unfolds in present-day Buenos Aires, though the city itself takes a backseat.
After an establishing shot tracking Villar on her bicycle, Viola cuts rather abruptly to its cast of thespians. In ‘Viola,’ Shakespeare Is Lens to Look at Young Argentines. Berlin: A Winter’s Tale: The 65th Berlin International Film Festival. It was in the sad month of February,When the days had become dreary,And when the wind whipped at the trees,That I made my way to Germany.
And when I to the border came,I felt a mighty hammeringIn my breast, I even thinkMy eyes welled with tears. And when the German tongue I heard,I had the strangest sensation;It felt as underwent my heartA pleasing exsanguination – Heinrich Heine Attending a film festival, as I have had cause to note in the past, is essentially a grand act of montage.
So there may be no more appropriate site for a film festival than Berlin, a city which, itself, seems to have been constructed with montage principles in mind. Mit der 41 in die Stadt. New Directors/New Films Festival Shows the Future. Libbie D. Cohn and J.P. Sniadecki A scene from the documentary "People's Park," directed by Libbie D. Cohn and J.P. Viola. Such Stuff as Dreams Are Made On Adam Nayman on Viola In trying to choose a movie for this symposium, I flirted with several titles that have already stood the decennial test of time before settling on something that hasn’t yet been released commercially. This is partially because I’m leery of parroting received wisdom, but also because I want to show the importance of remaining wide awake to new experiences.
Which is funny, because the first time I saw Viola—a film I’ve now watched three times—I was with a friend who fell asleep about halfway through the movie. And because I noticed her nodding off out of the corner of my eye, I only later realized that I missed a shot of one of the character doing the exact same thing—quietly conking out while her companion is lost in a book. Viola - Critics Round Up. Piñeiro unearths every bit of thought and feeling contained in this mercurial feature’s brief running time, from the melancholy images of Viola pedaling her bike through the city to the free rein he gives his mostly female ensemble to create memorably individuated characters. (A brilliant rehearsal scene between two troupe members—very Rivette-like in its conception and execution—suggests depths of emotion that go far beyond the words being read.)
This sensation of pleasant confusion recurs throughout Viola, which might be described as an ensemble romantic comedy but at the same time doesn’t seem beholden to any genre. Argentinean director Matías Piñero’s sophomore feature dares to disorient its audience from the first scene onward. But it’s not an obtuse film. Although it is filled with mysteries, it is not asking to be decoded. More Links. Movie Review. Two different Violas inhabit the Argentine romantic comedy Viola, one of them considerably more interesting than the other.
The audience is first introduced to the members of an all-female theater company performing a modified version of Shakespeare’s Twelfth Night, one of whom (Elisa Carricajo) has just decided to break up with her boyfriend. Joshua Reviews Matias Pineiro’s Viola [Theatrical Review] Apparently Joss Whedon isn’t the only director with an affinity for adapting works from The Bard. With the Avengers director back in 2013 with his (fantastic) take on Shakespeare’s Much Ado About Nothing, Shakespeare’s Twelfth Night gets a day in the spotlight thanks to Argentinian filmmaker Matias Pineiro and his equally great new picture, Viola. However, it’s not the straight adaptation one would expect from a director taking on one of the greatest literary voices in history. Clocking in at a taut 65 minutes, Pineiro’s film tells the story of a group of actors, and their romances while staging a performance of The Bard’s classic.
We meet Viola, the closest thing the film has to a real lead, a member of Buenos Aires’ bohemian set, and also the delivery system for bootleg DVDs that her boyfriend copies for customers. Visual Vagabond: The Films of Matías Piñeiro on Notebook. “When history is what it should be, it is an elaboration of cinema.” —Ortega y Gasset. Interview: Matías Piñeiro. Viola Argentinian director Matías Piñeiro cobbled together prizes from past festival wins to fund his latest release, Viola, which is partly based on a single scene about lovers’ intrigue from Shakespeare’s Twelfth Night. Piñeiro (whose next film focuses on 19th-century Argentinian writer and statesman Domingo Faustino Sarmiento) shot Viola in 11 days in 2011. Role Models: The Films of Matías Piñeiro - Cinema Scope. Review, synopsis, book tickets, showtimes, movie release date. Error: Internal Error. May 13 – May 14, 2012. Matías Piñeiro's Midsummer Dream. Summer has finally arrived, but before you queue up for Shakespeare in the Park, you may want to duck into a cool cinema at nearby Lincoln Center and catch the films of rising talent Matías Piñeiro, whose wonderfully idiosyncratic take on the Bard's comedies offer as many surprises as pleasures.
At barely 31 and with four films under his belt, this young Argentinian filmmaker is quickly establishing himself as one of international cinema's most unique new voices. Films directed by Matías Piñeiro. Rhythm and Word: Exploring the Films of Matías Piñeiro. “I like to profit from what happens unplanned. The idea of the world as being something beyond what is seen is what I’m looking to express.” Matías Piñeiro by Clinton Krute.