Just 25 years old at the time of his debut feature (El hombre robado, 2007), Matías Piñeiro has, for the last decade and a half, been one of the names at the forefront of the second wave of the New Argentine Cinema, but also of international arthouse cinema, at large. His body of work can be regarded as a continual, intricate, and increasingly complex, arborescent process of investigating the act of literary adaptation in cinema – crowned by a cycle of six films that has come to be known as the Shakespeareade, made with the same crew and close-knit community of Argentine actresses (amongst them, the legendary Piel de Lava trouppe, known for their performances in La Flor, 2018, and Trenque Lauquen, 2022). 

Flavia Dima

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Film critic & journalist. Collaborates with local and international outlets, programs a short film festival - BIEFF, does occasional moderating gigs and is working on a PhD thesis about home movies. At Films in Frame, she writes the monthly editorial - The State of Cinema and is the magazine's main festival reporter.

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