My first approach towards this and its puzzling storyline was rather cynical (I must admit), but when I realised Lucrecia Martel knew exactly what she was doing, I became a victim of its characters' mysterious internal psychology and slowly felt hypnotised by its masterfulness. It deserves a second, third or even a fourth re-watch.
This film isnt bad. But it isn't good either. It just exists.Floating on the ether like a blanket of sun-drenched cum, ready to suffocate you should you let it. I dozed, fitfully. I started, I stopped. Then it finished. I was neither happy, nor sad. I just was. In this ambiguous state of being thought seemed abhorrent. In the end, we agreed it was nothing.
The Car becomes an element of separation: there are those on the inside and those on the outside. Outside they either clean it, help unloading it or get killed by it. When passing the bridge, the girl asks her mom to close the window, ‘cause it smells bad – there's only a money-mediated "contact" between them. Yesterday gets repaired into today: "Is that your original color?"– "I don't remember, It's been so long..."
Gripping rendition of doubt & guilt, while desensitized to the outer world. Intriguing title: headless as oblivious to what happens around (oblivion at a larger scale: upper class/the poor) and as suggestive of anonymity. Beautiful cinematography, subtle hints conveying the inner struggle, nice touch with the small handprints on the window, riveting close-up shots accompanied by blurred silhouettes in the background.