The latest film from Lucrecia Martel, who is proving herself as a major new talent in world cinema.
Veronica is driving on the highway in northwestern Argentina. She becomes distracted by the ringtone of her mobile phone and runs over something, but drives on. The story will revolve around her meltdown following the accident and the possible death of someone. The police confirm that there were no accident reports. But she has doubts about what she had really hit. Was it an animal? A child?
The mystery of what happened, or what is imagined to have happened, has intrigued audiences and critics alike.
Lucrecia Martel was born in Salta, northern Argentina, in 1966. As a teenager she did a good deal of filming of her large family, but she never suspected she would end up studying filmmaking. In 1986 she moved to Buenos Aires to study communication. She made a few short films, among them Rey Muerto (Dead King) which received several international awards.
Between 1995- 1998 she directed documentaries for television and children’s programs with a dark sense of humor and which were widely acclaimed by the Argentine press. In 1999 she received the Sundance+-/ NHK Filmmakers Award for her script La Cienaga (The Swamp) about families in Northern Argentina. —Filmbug
Cineaste grapples with politics even more than usual in its Fall 2010 issue, n+1's new online film review is unlike any other — in a good
Since it’s no secret by now that The Girlfriend Experience is my favorite movie poster of the year and since I already selected a few of these
It's a busy Wednesday between Christmas and New Year's, with film journals posting new issues, a handful of films opening in theaters and
A Day In The Death Of James Cameron's Avatar: "I have a feeling this week's cannonball of publicity isn't going to let up until December
"Like my other films, The Headless Woman doesn't end in the moment that the lights go up, it ends one or two days later," Lucrecia Martel
J. Hoberman once said that "to not get Bresson is to not get the idea of motion pictures," and that's a fine assertion (and judgment) and all
Imagine that we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind a door. In an instant the room we are
Above: Vero (María Onetto) in one of the film's many emblematic, ghostly uses of foreground and background in its compositions. Argentinian
Por angas o por mangas, la obra de la cineasta argentina Lucrecia Martel permanece virtualmente inédita en México. Es cierto que su opera prima La Ciénaga (2001) se presentó en alguna Muestra Internacional… read review