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After only three features, Lucrecia Martel has firmly established herself as one of world cinema’s most distinctive visionaries. Following up on her subliminally atmospheric LA CIENAGA and THE HOLY GIRL, Martel goes even deeper into cinematic obliqueness with THE HEADLESS WOMAN. The story concerns Veronica (Maria Onetto), who accidentally hits something while driving one day. To the viewer, it appears to be a dog, but Veronica is unable to shake the fear that she killed a young boy. As the days wear on, she has trouble recalling even the most basic details of her life, to the point where she appears to be suffering from amnesia. Or is she simply trying to deny the truth about what really happened? All signs point to her being in the clear, yet just when she begins to feel okay another mysterious coincidence arises that makes her doubt herself once again.<br><br>Martel challenges viewers in a way that will cause many to scratch their heads, but this is clearly calculated behavior on her part. By using clever sound design and exquisitely framed images, she creates a palpable tension that makes THE HEADLESS WOMAN feel like a most unlikely thriller. She is also driven by a desire to expose the horrific divides in Argentina’s class system, making the film as much a work of social commentary as a fine example of thought-provoking entertainment. THE HEADLESS WOMAN is a film that demands multiple viewings to break through its mysterious surface.
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Headless Woman
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