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.
The Car becomes an element of separation: there are those on the inside and those on the outside. Outside they either clean it, help unloading it or get killed by it. When passing the bridge, the girl asks her mom to close the window, ‘cause it smells bad – there's only a money-mediated "contact" between them. Yesterday gets repaired into today: "Is that your original color?"– "I don't remember, It's been so long..."
Part of "Alison Nastasi's Fifty Essential Feminist Films" #43 - flavorwire.com/467279/50-essential-feminist-films/view-all
I can't say I know much about the history of Argentina, and having a good grounding in the basics of 70s Argentinian politics seems to be essential to really grasping the message of this one. Doing some reading on the killings, the disappearings, etc. I get some of the metaphors in hindsight, but it still doesn't give me the full impact.
Slow and detached, I stopped this twice halfway through before I finally watched it all. The opening is fantastic, up through when she hits the "bump" in her car. After that scene finishes my interest just rapidly dwindles and I can't help it. I've seen it compared to…
If I could go back and revise my undergrad curriculum, I'd add a course in semiotics, a couple of Latin American History credits, a dash of Lit Crit, and a class on sound design. I would do all of this with the sole intention of understanding Lucrecia Martel's films.
Basically, The Headless Woman makes me feel like The Brainless Woman (See how bad that "joke" was!).
This review reportedly contains spoilers. I can handle the truth.
Not insanely good but really watchable and interesting. Definitely not about nothing, I don't know what the hell that guy on imdb was talking about. At first I was annoyed by its focus on the upper class but then realized it was only kind of that as framing that the death of a poor boy meant mostly nothing to anyone.
EDIT: Totally forgot to mention the last shot... What is up with that?
Waaaaaay different than The Holy Girl (and definitely something that has to be seen again for me). Not entirely sure with this one (it's good, but I can't make heads or tails on a lot of it; so, arbitrary rating?).
If there's anything I've learned from The Headless Woman, it's that:
Martel loves the human ear almost as much as Michael Mann
Unlike Mann, Martel always fills her films with great music (I meant to mention the theremin in my blurb about The Holy Girl, as I firmly believe that it is one of the most underutilized instruments of all time, so I flipped out when I saw it there...).
Anyways; this is weirdness (and I'm definitely not ready to write about it in lieu of totally misreading this thing).
Love me some Martel, but I was not expecting this after coming from The Holy Girl.
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..."
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…