Isabel Review: A Fuzzy, Unfocused Portrait of Ambition in São Paulo

Gabe Klinger’s “Isabel” arrives with a frustrating disconnect. The film, centered on a Brazilian sommelier navigating ambition and compromise in São Paulo, sets up a compelling premise but ultimately feels adrift, failing to fully realize its protagonist’s emotional journey. The review, emerging from its premiere at the 2026 Berlin Film Festival, suggests a film grappling with its own identity, caught between character study and social commentary.

The core of the issue, as outlined in the review, lies in Klinger’s inability to anchor the narrative firmly in Isabel’s perspective. While Marina Person, who co-wrote the film and portrays the titular character, brings a certain presence, the film’s attention feels scattered. The reviewer draws a parallel to films titled after their protagonists – “Laura,” “Gilda,” “Gloria” – arguing that such narratives demand a singular focus, a gravitational pull towards the central figure. “Isabel,” however, becomes “unmoored,” leading to social elements that feel “loudly anonymous,” akin to “wine-bar white noise.”

The film initially establishes a promising dynamic: Isabel, already comfortable and successful as a sommelier in a Michelin-starred restaurant, finds herself creatively stifled. She champions natural wines, forging relationships with local producers, but her conservative boss favors more mainstream selections. This tension – a “dreaming small” counterpoint to narratives of grand ambition – holds potential. The reviewer highlights a particularly insightful scene involving an American patron, where Isabel’s weariness is palpable, signaling a familiar dynamic of customers attempting to assert status through their interactions with service professionals.

The introduction of businessman Pat (John Ortiz) marks a turning point, and a source of ambiguity. He represents a potential path forward for Isabel, dangling the possibility of funding for her own wine bar. This relationship, however, is fraught with power imbalances. The film wisely avoids easy signposting, allowing the dynamic to unfold organically, revealing the contrast between surface appearances and underlying motivations. Isabel’s careful attention to her appearance during these encounters underscores the performative aspect of the situation – an audition for her future, while Pat’s intentions remain unclear.

Visually, the film benefits from Flora Dias’s cinematography, which emphasizes intimacy through close-ups and a focus on gestures. This approach effectively captures the private sensuality of characters navigating public spaces, particularly during the initial meeting between Isabel, and Pat. However, the reviewer suggests that Klinger’s gaze occasionally veers away from Isabel’s internal experience, becoming fixated on the youthful beauty of supporting characters – Caio Horowicz as Nico, a waiter and Isabel’s confidant, and model Michel Ellyse. This shift in focus, the review contends, signals a loss of narrative momentum and a diminished commitment to Isabel’s story.

Nico, in particular, is presented as a somewhat underdeveloped character, functioning primarily as a sounding board for Isabel. The reviewer questions the logic of their relationship, noting that the film doesn’t adequately explain his unwavering loyalty. The absence of Isabel’s partner for much of the narrative further contributes to this sense of imbalance. The film seems more interested in observing the aesthetics of its characters and locations than in delving into the complexities of their motivations.

the review suggests that Klinger’s approach is one of detached observation rather than empathetic engagement. He neither judges nor fully connects with Isabel, instead “objectifying her without ever folding his particular perspective into his story.” This creates a jarring effect, as the significance of Isabel’s endeavors is undermined by a perceived impulse to focus on her physical appearance. The reviewer acknowledges the challenges of portraying female ambition on screen, citing the successes of filmmakers like the Dardenne brothers and Éric Rohmer, who have demonstrated a genuine interest in female interiority.

“Isabel” sets out to explore a specific world, but the film ultimately feels content to simply observe it, offering a shrug of “she’ll be fine, either way.” This lack of conviction, the review argues, is the film’s most significant failing. While the premise holds promise, and the performances are competent, the film’s inability to fully commit to its protagonist’s emotional arc leaves it feeling incomplete. The film is currently seeking U.S. Distribution, and its reception will likely hinge on whether audiences connect with its understated tone and ambiguous narrative.

The review concludes with a “C” grade, suggesting a film with potential that ultimately falls short of its ambitions. It’s a cautionary tale about the importance of maintaining a clear focus and prioritizing character development, even when exploring broader social themes.