This is pretty impressive, though I early on began to be of the opinion that Martel's tactics are often too self-assertive, redundantly cynical, &, at times, kind of unpleasant. Though the film is filled to overflowing w/ detailed, suggestive visual ellipses, & endlessly shaded sound-design, these characteristics too repetitiously serve 2 underline the potential 4 violence within this milieu. Hated the final minutes.
I was blown away by the unimpeachable excellence of Martel's subsequent two features, but it took seeing her debut feature to make me realize that she is one of the finest artists working today in any medium. I was absolutely floored. I can honestly not think of a greater debut in cinema ever. And it does exactly what any great debut does: it faultlessly discovers a way.
cuando el proceso de descomposición acelerado por un calor pegajoso, de delirio tropical, es mirado a través de una cámara glacial, surgen películas como ésta. la forma de la ciénaga es algo así como los hielos sobre los que se sirve vino o lo que se prefiera, pero mortal. las emociones vienen amortiguadas. se le mira a la bestia dentro del laberinto pero sólo se ven los damnificados
Martel’s masterpiece. It contains what is perhaps the most sensitive placement of people inside the frame. Dialogue is secondary; nowhere is the friction between characters expressed better than on their faces and movements to and away from each other. Cassavetes and Dreyer would have been proud.
This lady is a master. One of the best Directing runs of the first decade of the 2000's and this debut ranks with some of the best ever. A gripping look at the contentious, racist classism of the Argentinian ruling body as they slowly decay. Brilliant in every way