Camila, a young Argentine theater director, travels from Buenos Aires to New York to attend an artistic residency to develop a Spanish translation of Shakespeare’s “A Midsummer Night’s Dream.” Upon her arrival, she begins to receive a series of mysterious postcards.
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I hold Matías Piñeiro to be a modestly heroic under-forty basically unrivaled by any other filmmakers in his age group. HERMIA & HELENA, his most delicately-structured film, and the one in which Shakespeare is most peripheral, displays, like the two features which precede it, remarkable qualities of cinematographic intuitiveness. He makes films as though in possession of second sight. This one might be his best.
Extraña magia la de Piñeiro: más experimenta más amable se vuelve su cine. En Hermia y Helena expande los límites de sus juegos con los textos de Shakeaspeare hasta volverlos invisibles, acaso solamente una excusa para desarrollar un relato que se centra en la duplicidad, ya sea de personajes, tiempos, climas, ritmos y narrativas distintas. Cada vez que prueba, acierta. ¿Magia? No, simplemente pura fe en el cine.
Digital. Indie Lisboa # 9. As in his previous film, at some point one can think that this time the demonstrative effects of a fictional cleverness are mastered and the film finds a fluidity that will turn it to higher levels. But then suddenly the strategy of layers and repetitions returns and again the discursivity inflect to a game too pleased with itself. Again, a magnificent first sequence, in a continuous shot.
Such a nice, optimistic palette cleanser after watching the I Love Dick: another tale about creative residencies, delusional desires, and straying from one's life's work. This one, however, evades self-deprecation and -victimization.