Matías Piñeiro (Buenos Aires, 1982) doesn’t try to hide what influences him artistically, but at the same time he makes sure that the sum is bigger than the parts – his microbudget films are anything but simple pastiche or homage. This symposium proposes to delve into those influences and how they shape Piñeiro’s layered cinema, starting with an examination of his affinity with Eric Rohmer’s sense of narrative and spatial architecture, and with Jacques Rivette’s penchant for games and mysteries, via his adaptation or re-interpretation of various comedies by William Shakespeare and his position within the New Argentine Cinema, to a talk with the director himself on his observational style and mix of both classical and modernist narrative strategies.

A unique opportunity to meet one of the most promising young filmmakers active today and to discover an oeuvre that received international recognition but has not been presented to the Belgian public before.

Schedule

• 10:00 – Welcome
• 10:15 – Viola (2012, 65’)
• 11:30 – ‘All Originals’: Translation, Repetition, and Appropriation in the Films of Matías Piñeiro – Richard Misek
• 12:30 – Lunch break
• 13:30 – Rosalinda (2011, 43′)
• 14:15 – L’illusion comique: Piñeiro and (Classical?) Comedy – Tom Paulus
• 15:30 – Coffee break
• 15:45 – La princesa de Francia (2014, 67’)
• 17:00 – Q&A with Matías Piñeiro
• 18:00 – End

Matías Piñeiro studied at the Universidad del Cine in Buenos Aires, where he taught filmmaking and film history. In 2011, he moved to the US to undertake the Radcliffe Institute Fellowship at Harvard University, followed by a Master of Fine Arts degree at New York University. In 2006 he was one of eleven directors in the collective feature Regarding Buenos Aires. His feature films include El hombre robado (2007), Todos mienten (2009), Rosalinda (2011), Viola (2012), La princesa de Francia (2014), and Hermia & Helena (2016). He currently teaches filmmaking at Pratt Institute in Brooklyn, New York while developing Ariel, a project co-directed with filmmaker and friend Lois Patiño, based on William Shakespeare’s The Tempest.

Richard Misek is a film-maker and Senior Lecturer in Film at the University of Kent. His interests focus on montage and appropriation, cities and space, colour and light, and the interstices between film and digital media. He is the author of Chromatic Cinema (Wiley-Blackwell, 2010), and his articles have been published in journals including October, Screen, and the New Review of Film and Television. His essay film Rohmer in Paris (2013) has been exhibited in five continents and received widespread critical acclaim. He is currently producing a series of virtual reality video essays in collaboration with Melbourne-based VR studio Vrtov and the British Film Institute.

Tom Paulus teaches film studies in the department of Theatre and Film Studies at the University of Antwerp. He has published on issues of genre and film style in such journals as Film International. His essays on pictorial style in the films of John Ford were published in three edited collections, John Ford in Focus (Stoehr & Connolly eds.) from McFarland, Westerns: Movies from Hollywood and Paperback Westerns (Paul Varner ed.)  from Cambridge Scholars Press, and New Perspectives on The Quiet Man from the Liffey Press. His edited collection (with Rob King) Slapstick Symposium: Essays on Silent Comedy was published by Routledge in the American Film Institute Film Readers series.

Practicalities

All talks will be held in English.

Tickets can be bought by clicking the ticket button at the top of this page. General admission is 10€, students only pay 5€.

This symposium is held on the occasion of the retrospective and carte blanche, organized by Cinematek and Courtisane, in collaboration with Le Jeu de Paume, Cinea, Research Center for Visual Poetics of the University of Antwerp & the Embassy of Argentina in Belgium. More info: www.courtisane.be and www.cinematek.be.