The Headless Woman
After running into something with her car, Vero experiences a particular psychological state. She realizes she might have killed someone.
Slow-paced and enigmatic, Argentinean director Lucrecia Martel's third feature is her most challenging. The film depicts the psychological state of a woman after running something (or maybe someone) over with her car. In addition to exploring the mind of our protagonist, the film, like La Ciénaga, also portrays the interaction between the rich, white upper-class and the poorer native Argentineans. While these themes seemed clear in La Ciénaga, here they are much more vague. In fact, it's difficult at first to grasp what exactly this film is saying. However, the film certainly does depict the luxuries afforded to the rich and well-connected, in contrast with the difficult situations with which the poor are faced.
Consistent with her two previous features,…
The headless woman written and directed by Lucrecia Martel, deals with a blonde elegant woman named Verónica (María Onetto), Who lives with the turmoil of an incident that occurs in plain route to her destination from which point a potent term of events occur turning her into a phase of having to deal with reality.
Verónica a middle aged woman stucked with the unfortunate event of one day, making a mistake a human mistake while hearing her phone ringing she reaches for it, Realizing a sudden impact occurred. she looks back as she keeps driving she ends up stopping, pausing her vehicle in a rainy scenario.
From then the character finds herself confused, in a mind state of shock, in…
low key slow burn drama...interesting but not realy ever getting out of 3rd gear..it wouldnt blow you away but its worth a watch.
Argentinian film about an upper-class woman who becomes disconnected from her surroundings after she thinks she may have run over something (or possibly someone) with her car. The film explores the privileges of certain individuals and their disdain for those they see as below them. An excellent film.
Whilst watching I had no interest in the story or any of the characters and couldn't wait for it to be over. Afterwards the conversations I had with others and some reviews made it sound quite interesting so perhaps I should try to see it again.
“The Headless Woman” would be a near-masterpiece if it were not for the opaqueness of its central mystery, which partly feels like a deliberate attempt to preserve that mystery, but also reads as a sheepish move by Martel to answer as few questions as possible without the entire thing seeming like a wasted exercise. “The Headless Woman” isn’t a waste; it’s a great character study about a woman that could be any one of us, and the actions of Onetto’s deathly driver feel wholly identifiable given the situation. A story that could have been driven to melodramatic depths of conspiracy and punishment in the hands of a less sensitive filmmaker is handled shrewdly and not without power; a distant shot…
This review reportedly contains spoilers. I can handle the truth.
There are plenty of films about how a dramatic event can turn your life upside down - here's one about how it doesn't really change your life at all. Vero, the Headless Woman, runs something over in her car. Those she confides in tell her not to worry, it was probably just a dog, but you know she's not sure. But what to do about it? Let everything carry on as normal. There are subtle hints at the increasingly spectral existence Vero is experiencing - people still talk to her, she still talks to people, but is it all going in? - but on the whole, nothing much happens. That's the strength of the film, but also its weakness. The…
An enigmatic and brilliant film from Argentinian auteur, Lucrecia Martel, The Headless Woman invokes Bunuel, Antonioni and Lynch, yet remains unquestionably the work of its creator. But to be fair, this is not a film for everyone. Average moviegoers will not enjoy this film. Even at the Cannes Film Festival, the audience booed and/or walked out.
I can't argue with someone who doesn't enjoy this film from a subjective point of view, but anyone who dismisses the film entirely is without justifiable evidence. Nobody can say this movie is not visually and aurally stunning and masterfully executed. Martel creates more with just sound than a lot of directors can visually. Shot in wide screen and with a soft focus that…