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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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!"
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.
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.
If Martel's cinema provokes rejection or confusion in some, it does so because the audience prefers its pre-established and perceptive system. Here form is content and nothing has been put in the film to impress. Each frame is a work of art in itself; a visual pleasure, a meditation full of meaning on the expressive possibilities of cinema, a virtuoso interaction among multiple textures of images and level of sounds