Lois Patiño, born in 1983, combined his psychology and cinema studies in Madrid. He pursued cinema education in New York, Berlin and Barcelona. His videos and video installations have been shown in art centers and film festivals such as Rotterdam, New York, BAFICI, Viennale, Rome, Ann Arbor. His work ‘Mountain in Shadow’ won prizes at Oberhausen and Clermont-Ferrand, among others. His first feature film ‘Costa da Morte’ received the prize for the best emerging director at the Locarno IFF. This film also received prizes in festivals such as Jeonju, FICUNAM, Festival dei Popoli, Valdivia, or at Seville European Film Festival.
Matías Piñeiro was born in Buenos Aires in 1982. He studied at Universidad del cine, where he taught Filmmaking and Film History for five years. In 2011, he moved to the U.S. to undertake the Radcliffe Institute Fellowship at Harvard University. The following year he moved to New York to complete a MFA degree while teaching Spanish at New York University. His films include ‘El hombre robado’ (2007), ‘Todos mienten’ (2009), ‘Rosalinda’ (2010), ‘Viola’ (2012), ‘The Princess of France’ (2014). Oscilating between New York and Buenos Aires, he is currently developing the fourth and fifth installments of his Shakespearean project, ‘Hermia & Helena’, his first English speaking film and the short film ‘Beatrice’.
Our project is based on William Shakespeare’s “The Tempest”. It is not an adaptation but a film that focuses in the ambiguous character of Ariel and its relationship with Prospero, Calibán, Miranda and a group of visitors.
We will compose an experimental narrative that will prioritize an exploration between landscape and human body, silence and words, fiction and description.
We believe that the extreme popularity of this play is the key element to set the play and ourselves free from conventional approaches. It will actually enable us to abstract the topics that unite our interests. How can we picture a character that has the capability of being invisible? How can cinema show the holes that other arts left in order to be how they are?
We will concentrate our attention in “Ariel” because it is the character that merges Theatre and Nature. We also find that it exposes some key paradoxes of theatre and literary representation such as the ontological impossibility of representing the actual space –an island- and the specific phenomenon –a tempest- that the play requires.
A second important aspect that we aim to address is the fantastical layer that the play develops. How can we achieve the strength of magical actions by a realistic approach to cinema? How can the ambiguity of the real help us to blur the line between fiction and reality?
The original text, translate it into Spanish, will also be in use, but in an approach that will emphasize the autonomy between image and sound.