Yet another year with yet another update.
2012 version can be found here.
2013 version can be found here.
After running into something with her car, Vero experiences a particular psychological state. She realizes she might have killed someone.
A cold, disconnected film to portray the cold disconnect of a person who has inadvertently hurt another, this movie captures the paranoia evidently present in real life fascist dictatorships as dissidents vanish without a trace. The complicity of the population is an insidious toxin in the air, pervading the relationships, going unspoken, unaddressed. Little changes direct us to the altering emotional and mental states of Vero, our lead, and quiet moments convey as much as the deceptively direct dialogue.
What struck me most was the depiction of privilege on display. The film simply illustrates the advantages afforded Vero simply by being in a well connected middle/upper class family while the wounded party is clearly the child of a servant. Her…
VAGUE SPOILERS THROUGHOUT
This is probably the most rewatch friendly film that I've ever seen.
The Headless Woman is all about minute details. It is not about grand movements or screeching plot developments or major character transformations. Everything here is done at a perfectly deliberate pace. In some ways it is one of the most admirably paced films I've ever seen.
Those are two pretty big accolades to hand out to a film, aren't they? Even so, I'm in no doubt about the lack of impact The Headless Woman will have on many viewer. Martel runs the risk, right through the entire 85 minute running time, of alienating viewers with her standoffish approach to everyone in this film apart from…
Such a puzzling film yet so subtle in its direction that it is kind of difficult to surmise any concrete interpretation of the film other than the standard superficial one of flat out psychosis.
After reading many reviews, synopses, and other material written on the film (after watching) in order to find some sort of viable explanation for what I have just seen, there seems to be a trend on a specific interpretation having to do with a social commentary on the vast difference in wealth between the upper class and lower class in Argentina. This nor do any of the other interpretations I have read sound plausible (even if this viewpoint was stated by the director herself which I…
It was really hard for me to rate The Headless Woman. It has a great performance by the lead character, it's very well made and has a very beautiful cinematography and the premise is also interesting. So why am I not excited?
We enter in Vero's world right when she runs "something" over. Is it a child? Is it a dog? We don't really know, neither she does, but it sure upsets her to the point that she's completely passive, forgetful and apathetic. Nothing is really shown to us and we're left to pick up the pieces together with Vero.
The first part of the movie is really an interesting thriller,…
Rewatched and blown away even more than the first time. Martel's third film continues to concentrate on Argentina's privileged, bourgeois class. Like La ciénaga (and unlike La niña santa's larger dependence on story), this film is more sustained in its desire to explore its protagonist, a well-to-do housewife who shows herself as pious and sensible, but who is incapable of making the tough decisions, instead relying on the people around her for that, especially men, whose behavior does exhibit some shady characteristics, as the film reveals. She does, however, change the color of her hair. Martel is a master at exploring her protagonist's inner turmoil while undergoing a traumatic experience, but the director's attack is sustained and brutal in its…
I wouldn't be surprised if it was a dog. I remember there being so many strays when I visited Argentina.
There are ghosts so good at their job that they don't even need to show up.
A very mesmerizing yet restrained drama about a middle-aged woman's encounter with something she might've committed as it's told in a very provocative way by Lucrecia Martel and features a chilling performance from Maria Onetto.
I often believe that in cinema, a little subtlety can go a long way. In the case of Lucrecia Martel's The Headless Woman, she proves that a lot of subtlety can also go quite a long way as well. Much more of the content, particularly those of thematic concern, are shown instead of being told. Martel uses cinematic language in a way akin to such greats as Kiarostami and Haneke, implementing slight diegetic cues into the scene to communicate many, many things to the audience. In particular, Martel's framing and especially her sound design offers a great deal of thematic clarity to the piece that the narrative itself keeps shrouded away.
Like the picture I watched earlier today, Mohsen Makhmalbaf's…
When placed within the context of post-genocide Argentine culture, the metaphor here becomes almost too horrifying to contemplate.
"The house is full of ghosts. If you don't look at them, they just go away..."
30 Countries in March 2015 (#26 - Argentina)
All the other reviews have pretty much covered everything there is to say about this endurance test of a film. At certain moments, I felt as if everything was just going to fly over my head when all is said and done. This made me question why I should even bother with a film that is clearly not interested in any sense of finality.
However, the narrative becomes a lot more compelling once you start to discover the many intricacies of this main character Vero's psychological breakdown. Following a bewildered trauma, her seemingly nonsensical reactions to an assortment of common situations offer brief explanations of her cloudy predicament. As Vero tries to…
I wanted so badly to like this film, but I couldn't help but feel it would have worked better as a pamphlet. Tons of great ideas, but they're just ideas--abstract, intellectual, and instantly forgettable when placed in a movie...
The Headless Woman is a precise and understated horror film with an incident at the core that we only experience indirectly. A woman is driving her car and is distracted and hits something. We see the view from inside the car so don't know exactly what happens. She pauses and then continues on. In the aftermath we see the effect that the guilt has on her and those around her. It's a haunting film that raises lots of questions and has stayed with me for hours afterwards.
March Around the World in 30 Days.
Stop #1: Argentina
«No pasa nada.»
Lucrecia Martel's La mujer sin cabeza follows a woman named Vero, who slowly steps into a world of guilt, lost memories and complicity. The framing of the film, reminiscent of Haneke in terms of composition and intent, has some importance because it served the purpose of creating an emotional detachment and some interesting compositions with possible symbolism.
Was not disappointed.
The Headless Woman is a mysterious, quiet little film. It revolves around a middle-aged woman (Vero) who, in a moment of inattention, accidentally runs over a dog (debatable, we're never quite sure) while driving on a country road. The rest of the film focuses on Vero's memory loss, detachment, and isolation that occur in the week following the incident.
We aren't given much of an explanation or really any exposition and the film is frequently shot as if we are looking over Vero's shoulder, seeing things in the confused, distorted way that she now sees them, but with her blonde head still present in the frame. Vero is isolated by the camera,…
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…
A list of films directed by women, in alphabetical order by director. To make the list manageable, I'm adding 1…