Martel would be the first to tell you that sound plays a preeminent role in her work, but it always plays both a functional and aesthetic role in serving her rigorous montage. Pictorial grace, aural depth, formal adhesion. Martel invokes late Bresson for me (though she is no mere mimic). LA NIÑA SANTA uses form and scenario to fruitfully pathologize a milieu, doing special service to female subjecthood.
The densest coming-of-age story I've seen yet. The direction reminds me of Bresson at his best, and the way Martel shows us the competing forces of sexuality and religion is sly and intelligent. I suspect it will take a couple rewatches to better understand, however.
Lucrecia Martel's film is a chilling portrayal of a teenage girl's loss of innocence — a creepy, older doctor rubs up against her — and of the subsequent, confusing desire she begins to feel after the assault. There's a lot of self-discovery in Martel's film, and the way she tackles that weird space that exists between desire and shame is as intelligent as any film on the subject I've seen.
I found the film absolutely fascinating. There's more going on under the surface than just a coming of age story. All of the main characters in the film are sexually repressed, but this may not necessarily be a bad thing since the alternative are the doctors who are chasing every tail that works at the hotel. The moog musician is able to play music without touching anything tangible; a parallel?
lucrecia is always so refined and groundbreaking, that even with nina santa, her minor work, she is irreplaceable, she is the best living director working with sound, has her own distinctive themes, which become clearer with every film she makes, i like the milieu she's showing, the way her characters communicate,frames in form of tableaus, and especially the restrained suspense of her stories + swimming pools