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..."
Perplexing, simplistic, and haunting, The Headless Woman is the kind of film that fascinates and intrigues me the most. It's a head scratcher that follows a woman who may or may not have killed someone in a hit and run. What I most liked about the film is that is carries a mundane tone, but the events that delicately unfold are all the more disturbing because no one else seems affected by them.
This enigmatic film gives you very little. After watching it, I read a review in the New York Times that detailed information that as a viewer you just are not party to (how am I to know Vero's tryst is a one-off with a man who is her husband's cousin?) The film starts strong but fizzles into thin air. Perhaps it would be different if I were a Spanish speaking Argentine who understood the coded subtext.
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.