Wall

Martel's point of view makes anybody envious. She's got a really great sense of storytelling economy, and a breath-taking focus on sound. She really knows how to take advantage of soundscapes and off-screen action. This movie shows all of her talent.

Jesse Taylor likes this

Benjamin C.

4Jan12

Perplexing, simplistic, and haunting, The Headless Woman is the kind of film that fascinates and intrigues me the most. It's a head scratcher that follows a woman who may or may not have killed someone in a hit and run. What I most liked about the film is that is carries a mundane tone, but the events that delicately unfold are all the more disturbing because no one else seems affected by them.

Apurimac

1Jul11

Astonishing. Made me fall in love with Martel and check out her other work. Her strongest piece so far and she's only getting better.

Langston Young

15May11

Beautifully shot, though I don't really know what it is exactly I was looking at. Not as focused as her other films, this one seemed to have been blowing in the wind.

Mário Coelho and Kerem Soyyılmaz like this

AdamantCocoon

30Jul11

I'm with you on this one. I definitely prefer La Niña Santa.
Langston Young

9Aug11

Definitely. I had no clue what she was getting at. Completely lost on me. I like her 1st 2 features much better.
Kerem Soyyılmaz

8Feb12

I' d like to see her other films to have an idea. I won' t give more than *** at the moment.

rowdyman

12Sep10

This enigmatic film gives you very little. After watching it, I read a review in the New York Times that detailed information that as a viewer you just are not party to (how am I to know Vero's tryst is a one-off with a man who is her husband's cousin?) The film starts strong but fizzles into thin air. Perhaps it would be different if I were a Spanish speaking Argentine who understood the coded subtext.

businessfood

22Jul10

i have no idea what happened, but i loved it. but i think it's obvious where the handprint on the window came from.

Langston Young likes this

susuwatari

9Jul10

A film that circles round and round its inciting incident, drawing in closer only to pull back away with an uncanny playfulness. I await something truly sublime from Martel.

Miss Carrie Love

9Jun10

John Waters on The Headless Woman: "Bleached hair, hit-and-run accidents, in-laws with hepatitis? Huh? I didn’t get it, but I sure did love it!"

Jose Sarmiento Hinojosa

6Apr10

If not a complete masterpiece like her two first films, this doesn't dissapoint at all. Lucrecia moves into a more minimal (narration wise) territory and the results are terrific. Excellent performances.

Remote Viewer

31Mar10

Successfully illustrates the downside to having an annoying cellphone jingle. Obscure and disorienting film // The murky interpretations of things seen (or not seen) creates a tension that dissolves into a fairly... straight forward narrative. Deals with repression, guilt, alienation.... political or personal. Side moral: HANDS ON STEERING WHEEL - OFF OF RELATIVES (??)

Jerry Johnson

4Mar10

Martel moves into a more abstract, symbolic territory (a la Antonioni), continuing to demonstrate a wide-ranging mastery of different cinematic languages. The political metaphor is a bit obvious, but it doesn't matter when buttressed by Martel's typically powerful characterizations.

Joshua Dysart

4Mar10

Loved the style and and cinematography choices.

Sonja Faria Rosa

28Feb10

Very strange movie but if you know what happened in Argentina in the 70's it all stated to make sense.

Jeremy Moss

25Feb10

Strikingly beautiful, carefully/meticulously crafted. A quiet character study and visceral allegory for middle-class guilt in Latin America.

ijgamboa

10Feb10

typical overrated south american movie. give me some plot.

Sunshine & Clouds

7Feb10

Great final scene.

xrystyna likes this

Gregory

13Jan10

That gorgeous film poster deserved a more engaging film than this lovely, dense, but not especially profound portrait of a bourgeois woman's interior guilt.

Robert W Peabody III

17Dec09

beyond a redeeming social status, lies a crime

Rod Lebowski

1Dec09

Social subtext not particularly poingnant, but Martel's refusal to make anything explicit within the narrative eerily reflects the protagonist's denial and alienation. The strong central performance and almost subliminal unfolding of the "mystery" through banal moments of seamless routine packs more punch than ten Jack Nicholsons screaming "You want the truth? You can't handle the truth!"

Jesse Taylor likes this

paul houlihan

27Nov09

intelligent story driven by a strong central performance with subtle class, family and gender subtexts emerging within the narrative; overall hardly riveting viewing or "a classic" as some critics make it out to be, but thought-provoking nonetheless..excellent article on the film here. http://www.indiewire.com/article/after_i_forget_lucrecia_martels_the_headless_woman/