Veronica is driving in northwestern Argentina when her mobile phone distracts her and she runs over something—but drives on. The police confirm that there was no accident, but Veronica begins to have a meltdown, thinking she may have killed someone. Was it an animal? A child? Or nothing at all?
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I enjoy how Veronica's distractedness generates a line of futility which does not negate all the exuberant life surrounding her. Martel gets a lot out of these elements working against each other in different ways. And the director is less condescending here than in LA CIÉNAGA. Still, I find her style relentless. Certain formal decisions--her insistence on underlining jarring diagetic sounds-- seem too overstated.
This started well but then completely fizzled out, at least for me. The last few minutes were so anti-climactic it almost seemed like a joke. Martel is clearly a talented filmmaker, though, so I'll watch her other films regardless.
A little bit of class warfare. The performance by María Onetto is incredible. You don't know too much about where her head was before the accident, but the subtle transformation to what she becomes is remarkable.
Pro: Interesting look at a woman's refusal to come to terms with her past. Class structure in Argentina.
Con: Too many 'filler' conversations among Veronica's relatives who come and go while she remains expressionless throughout.
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.
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..."