"I guess I know where the towels went."

Martel’s first feature observes an Argentinian family that’s mired in a seemingly permanent state of rot. Their declining socio-economic fortunes and their paralyzingly provincial mentality have lead this clan, split between a house in the wetlands and the nearby town that lends the film its title, to embody what Martel describes as “A society that lives vaguely hoping that nothing will ever change, and in terror of everything repeating itself indefinitely.” They are completely and irrevocably stuck – a storm is always threatening to displace them, yet it never touches down. In fact, it never even rains. It is almost as if the characters, usually gathered around the brackish waters of the pool that’s been installed at the family estate, are living inside the eye of a hurricane – it’s deceptively serene, but to step outside of their immediate environments seems unfathomable.

Day 4. 9th Film, 8th Country: Argentina
of the "May: 30 Days, 30 Countries" Challenge.

A film about the degenerative lifestyle of the middle class Argentinians, filled with emptiness, drunkenness, irresponsibility and racism. The symbolism in the film is a little too heavy but it does show talents. This is a fine debut film from Lucrecia Martel.

Wonderfully textured story of a family and the minor/major tragedies that befall them during the rainy season. Tennessee Williams by way Buenos Aires

"I guess I know where the towels went."

Martel’s first feature observes an Argentinian family that’s mired in a seemingly permanent state of rot. Their declining socio-economic fortunes and their paralyzingly provincial mentality have lead this clan, split between a house in the wetlands and the nearby town that lends the film its title, to embody what Martel describes as “A society that lives vaguely hoping that nothing will ever change, and in terror of everything repeating itself indefinitely.” They are completely and irrevocably stuck – a storm is always threatening to displace them, yet it never touches down. In fact, it never even rains. It is almost as if the characters, usually gathered around the brackish waters of the pool that’s been installed at the family estate, are living inside the eye of a hurricane – it’s deceptively serene, but to step outside of their immediate environments seems unfathomable.

Me surpreendi com este filme, que se mostrou denso, apesar do ritmo ser oscilante. Inovador tanto na fotografia como nas cores. Um retrato da família despedaçada

This film, Lucrecia Martel’s debut, caught the interest of renowned director Pedro Almodovar who helped to produce her subsequent features. It’s not hard to see what attracted him; besides the flattering similarity with his own work (textured cinematography, focus on female characters) the movie bears the mark of a unique and original vision. Much can be praised here, especially her idiosyncratic sound design and devastating ending. In the end however, this is a collection of scenes, which while fascinating are not properly strung together into a fully-formed film. Her uncompromising vision is both the main asset and fault here