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"The latest of the talented young-ish filmmakers to emerge from the independent film culture of southern South America, 31-year-old Matias Pi\u00F1eiro arrives here with what seems to be a fully developed style and distinct set of interests.\u201CEl hombre robado\u201D (The Stolen Man, 2007), a sort of romantic farce set in a museum from which the characters are pilfering antiquities, and \u201CTodos mienten\u201D (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. To act is to act in this world. \u201CInstead of rooting stories in the soil of the real,\u201D Dennis Lim writes in the current Artforum, Pi\u00F1eiro\u2019s films \u201Cemphasize the alchemical properties of fiction.\u201D\u201CViola,\u201D Pi\u00F1eiro\u2019s latest film \u2014 included in last spring\u2019s \u201CNew Directors/New Films\u201D and opening Friday at Lincoln for a week-long run \u2014 is his most accomplished film to date, at once lucid and opaque using an amateur, all-female production of Shakespeare\u2019s cross-dressing comedy \u201CTwelfth Night\u201D as way to parse the shifting relations among a group of actresses and their acquaintances. (Only 63 minutes long, it\u2019s showing with Pi\u00F1eiro\u2019s earlier \u201CRosalinda,\u201D a 40-minute movie drawing from another Shakespearean comedy of romantic and gender confusion, \u201CAs You Like It,\u201D which is being rehearsed in plein air.)\u201CViola\u201D consists almost entirely of two-shot close-ups, filmed with a mobile camera but edited without establishing or transitional shots, effectively blending rehearsals, riffs, performances, dressing room discussions of various relationships, and off-stage encounters. The initial, flirtatious, innuendo-filled courtship scene between Viola (disguised as a man in Shakespeare, if not here) and Olivia (veiled as in Shakespeare, at least at first) is replayed with variations until it almost comes to seem a loop. Further ambiguity is provided by the introduction of a character, not in the play, who is also named Viola, who is invited to replace one of the actresses in \u201CTwelfth Night,\u201D and who contributes to the pervasive theme of copying and doubling by acting as a courier for her boyfriend in the business of duping and distributing bootleg DVDs \u2014 at least that\u2019s what it seems like to me.\u201CViola\u201D\u2019s sudden moment of voiceover subjectivity turns the movie back on itself, demonstrating what the Argentine critic Quint\u00EDn, author of the first English-language report on Pi\u00F1eiro, published a year ago in Cinema Scope, attributes to the filmmaker\u2019s pushing \u201CShakespearean promiscuity\u201D to the limit: \u201CIn the end any actor can play any character\u2014including sex changes\u2014as if all the bodies, the names, and all of Shakepeare\u2019s and Pi\u00F1eiro\u2019s characters are impossible to distinguish.\u201D It\u2019s not just perverse but polymorphously so.Read more J. Hoberman at Movie Journal. "^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.blouinartinfo.com/news/story/929323/the-cinema-of-matias-pineiro-as-you-like-it>