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This final work of a trilogy - which begun with Rosalinda and was followed by Viola - retrieves the comedy Love's Labour's Lost to put the woman back in the centre of the narrative. Victor, a director, returns to Buenos Aires after his father's death with the idea of creating a radio version inspired by that Shakespeare comedy. For that, he surrounds himself with a group of actresses with whom he had or will have sentimental relations. In La Princesa de Francia, Piñeiro uses Shakespeare, in a work marked by intertextuality, to speak to us of the fluidity of amorous relations in contemporaneity. But, as is already a common feature of his films, what stands out on the screen, more than the plot of the young Argentines and their loves, is a portrait of the surrounding, the language, the inner life of those faces. An intimate portrait perhaps only possible due to the continuous work with these actresses. (Rita Morais)
In The Museum
2015, Argentina, 9’