Bill Curran reporting from the New York Film Festival. Hot takes on two titles...
Hermia and Helena
Matías Piñeiro’s newest Bard-based roundelay belongs to that venerable arthouse tradition, the stranger-here-in-this-town movie. Far from attempting a fully foreign pose, the Argentina-bred but Brooklyn-living Piñeiro is driven by the same impulse found in Hou Hsiao-hsien’s Flight of the Red Balloon and Wim Wender’s 70’s USA road trilogy: flaunt the outsider perspective. When Carmen (Maria Villar) hustles back to Buenos Aires with an unfinished manuscript, Camila (Agustina Muñoz) all but assumes her friend’s spot—not to mention a few dangling relationships—in a literary translation fellowship in New York City. Camila’s choice of text: A Midsummer Night’s Dream, naturally, giving Hermia and Helena license to oscillate between North and South America as if they were different worlds, and to riff on the impermanency of love and self.
Hermia and Helena
Matías Piñeiro’s newest Bard-based roundelay belongs to that venerable arthouse tradition, the stranger-here-in-this-town movie. Far from attempting a fully foreign pose, the Argentina-bred but Brooklyn-living Piñeiro is driven by the same impulse found in Hou Hsiao-hsien’s Flight of the Red Balloon and Wim Wender’s 70’s USA road trilogy: flaunt the outsider perspective. When Carmen (Maria Villar) hustles back to Buenos Aires with an unfinished manuscript, Camila (Agustina Muñoz) all but assumes her friend’s spot—not to mention a few dangling relationships—in a literary translation fellowship in New York City. Camila’s choice of text: A Midsummer Night’s Dream, naturally, giving Hermia and Helena license to oscillate between North and South America as if they were different worlds, and to riff on the impermanency of love and self.
- 9/29/2016
- by Bill Curran
- FilmExperience
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