The third film in Matías Piñeiro's ongoing Shakespeariada project reimagines Love's Labour's Lost as a radio play.

Following the death of his father in Mexico, 20-something Victor heads home to Buenos Aires, bringing with him a new project for his former theatre company: a radio adaptation of Love's Labour's Lost. Working with five actresses who know him all too well, the barriers between fact and fiction – and between film and play – soon begin to fall away.

Beginning with the featurette Rosalinda, a beguiling take on As You Like It, and continuing with Viola (MIFF 2013), a coda inspired by Twelfth Night, Matías Piñeiro now tackles one of the Bard's lesser known comedies. As with the first two films, The Princess of France is a primarily female-focused and very contemporary interpretation bearing all of the director's trademark touches: linguistic dexterity, kaleidoscopic plots, luminous cinematography and a delicate sense of playfulness.

"My films are like games that I invite the spectator to participate in. I like leaving empty spaces for the viewers to enter my films." – Matías Piñeiro