In The Stolen Man (El hombre robado), Argentine filmmaker Matías Piñeiro’s 2007 debut feature, a young woman navigates her way through two different schemes: the stealing and subsequent selling of artifacts from the museum she works at and a series of encounters with friends and lovers that she aims to manipulate towards an ambiguous endgame. The legacy of Domingo Faustino Sarmiento looms over the movie (it is, after all, a present-day adaptation of his Facundo) and its Buenos Aires setting, influencing Piñeiro’s literary tone as well as the manner in which his characters think and act. Heavy with history yet youthful and slyly complex—comparisons to Jacques Rivette are more than apt—the film sees Piñeiro construct an elaborate web of interaction, motivation, desire, and deceit.

The Stolen Man will screen this Friday at TIFF Bell Lightbox as a part of the retrospective Divertimentos: The Films of Matías Piñeiro. The series kicks off tomorrow evening with a screening of the filmmaker’s carte blanche selection: Bernardo Bertolucci’s Before The Revolution (1964).

Also, be sure to take a look at our video interview with Piñeiro here.