Brazilian director Gabe Klinger lands in the 76th Berlinale’s Panorama with his third film and second feature, “Isabel”, co-written by its protagonist, Marina Person.

The film marks the first time Klinger shoots in his own town São Paulo as he has only returned to live in his home country recently as he spent most of his life in Chicago, USA.

Isabel is the story of a sommelière in São Paulo’s fine-dining scene who dreams of escaping her controlling boss and opening her own wine bar. Is it a film about the journey of a sommelière in crisis?

“Isabel’s story is not just about a sommelière in crisis” – suggest Klinger and Person, “it’s about the human desire to find meaning in everyday moments and personal choices”.

The filmmakers know well that the character is a product of São Paulo’s middle class, that Isabel exists in a space of tenuousness and privilege. “No one’s gonna die,” one of Isabel’s fellow sommelières assures her, grounding us in reality by reminding us there is, in fact, a safety net to this story.

But the film is ultimately reclaiming the right—and giving its protagonist the opportunity—to desire a radical change in her life, even if, from the outside, it might seem as though she lacks nothing.

The city of  São Paulo plays a pivotal role in the film Isabel, acting as a vibrant backdrop that influences the characters’ lives. Klinger’s intention was to capture the authentic spirit of the city, portraying its chaos, beauty, and cultural richness. This setting becomes a character itself, adding depth to Isabel’s introspective journey. Shooting in  São Paulo allowed the creators to embed local flavors and social realities into the narrative, making the film a true reflection of the place that shaped its story and characters.

Creative Collaboration and the Making of the film

The creation of “Isabel” was a highly collaborative process, emphasizing the importance of shared vision. Klinger envisioned Marina Person, the film’s protagonist, not just as an actress but as a vital creative partner. Marina’s involvement in writing dialogues and shaping her character exemplifies the film’s democratic and inclusive approach. This synergy between creator and performer helped craft a film that feels genuine and resonant, emphasizing the importance of collaboration in capturing the film’s thematic essence.

The film chooses to approach Isabel defeats as we through languid melancholy rather than tragedy.

The film chooses to approach both Isabel’s defeats and her victories with a languid melancholy rather than through the tools of drama and tragedy. Melancholy is a feeling that permeates Klinger’s work, present as well in his previous film, “Porto”, and it becomes a fil rouge connecting the Brazilian director’s films.

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