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Peru

19 MIN

DIR José Sarmiento Hinojosa

PROD Mario Castro Cobos

Lucrecia Martel (born December 14, 1966 in Salta, Argentina) is a film director, screenplay writer, and producer. She is one of the members of the so-called “New Argentina Cinema” which began c. 1998.

Her debut film La Ciénaga received several international awards, and was voted the greatest Latin American film of the decade in a poll of New York area film critics, programmers and industry professionals. The Holy Girl was selected for competition at the 2004 Cannes Film Festival and ranked ninth in the same poll, while The Headless Woman was selected for competition at Cannes in 2008 and ranked eighth. Additionally, James Quandt of Artforum declared The Headless Woman as “one of the great films of the decade.”

In this interview she talks about the Latinamerican film industry, the ever-changing film market around the world and gives insightful and optimistic remarks about the new technologies in cinema.

This interview was made between her jury duties in the 2010 Lima Film Festival.

Interviewer: Mario Castro Cobos
Editor: José Sarmiento-Hinojosa

Cani

23Jan12

I like the way she thinks.

Geronimo

18Sep10

One of the most interesting persons (and remarcable intelectual) working on cinema these days...

javier quintero

7Sep10

Lucrecia Martel is one of the few directors in Latin America with a conscience on means of production, distribution and exhibition. Her views on film, which summarize integral reflection on all creative stages,- no matter what the actual technology is-, are imprescindible, and point out to new directions and discoveries. She makes great points when talking about narrative structures and devices (conceptual proceedings) somehow, inviting filmmakers to take part. She is so open when talks and criticizes the present situation and how the filmmaker can build ways to approach to it, in a time when any external funding or contribution for auteur film, more than ever, like she states, is proportional to narrative limitations or concessions.