Since 2010, I have been developing a series of films that focus on the female roles in Shakespeare comedies: ROSALINDA (2010), VIOLA (2012), PRINCESS OF FRANCE (2014) HERMIA & HELENA (2016) and now, ISABELLA (2018-2020).

These films are not adaptations of the plays. I am more interested in an alternative experimental approach to fiction in which these texts inspire variations for new narratives. Shakespeare´s comedies display a group of women that have a strong connection with the female actors I work with. It is interesting to notice that while the tragedies and history plays bare the names of the male protagonists, the comedies (where women have a more relevant and active role) are titled quite differently: “As You Like It,” “Twelfth Night,” “Midsummer´s Night dream,” “Love´s Labour´s Lost” and “Measure for Measure.” I name my films after the intelligent, funny, and strong female characters of the comedies as a first step toward re-evaluating how we approach Shakespeare and what stories we consider worth telling.

ISABELLA focuses on the work of a female actor towards obtaining a role that keeps on escaping her. The film sets a kaleidoscopic mise-en-scène around the idea of success: What is success? What happens when somebody else makes the decision for you in this regard? What image of ourselves does this idea of success create in us? How do pregnancy and age model this image?