IMDb > The Holy Girl (2004)
La niña santa
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The Holy Girl (2004) More at IMDbPro »La niña santa (original title)

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Overview

User Rating:
6.6/10   2,414 votes »
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Up 208% in popularity this week. See why on IMDbPro.
Director:
Writers:
Lucrecia Martel (written by)
Juan Pablo Domenech (contributing writer)
Contact:
View company contact information for The Holy Girl on IMDbPro.
Release Date:
6 May 2004 (Argentina) See more »
Genre:
Plot:
16-year-old Amalia looks to save the soul a middle-aged doctor. Full summary » | Add synopsis »
Awards:
3 wins & 6 nominations See more »
User Reviews:
An extraordinary achievement See more (37 total) »

Cast

  (in credits order)
Mercedes Morán ... Helena
Carlos Belloso ... Dr. Jano
Alejandro Urdapilleta ... Freddy
María Alche ... Amalia
Julieta Zylberberg ... Josefina

Mía Maestro ... Inés
Marta Lubos ... Mirta
Arturo Goetz ... Dr. Vesalio
Alejo Mango ... Dr. Cuesta
Mónica Villa ... Madre de Josefina
Leandro Stivelman ... Julian
Manuel Schaller ... Thermin player
Miriam Diaz ... Miriam
Rodolfo Cejas ... Josefina's father
Maria Victoria Mosca Coll ... Local girl
Ornella Velazco ... Local girl
Guadalupe Pardo Hernandez ... Local girl
Ana Carolina Beltran ... Local girl
Rodolfo Cabrera ... Manuel the plumber
Maria Susana Falcon ... Josefina's aunt
Guillermo Enrique Castro ... Lad in accident
Victor Anuch ... Juan Pablo
Sebastian Diaz Sabala ... Juan Pablo's friend
Maria Micol Ellero ... Josefina's sister
Sebastián Montagna ... Josefina's brother
Maria Emilia Martinez ... Josefina's sister
Guido Nunez ... Medical consultant
Nilda Silvia Suarez ... Photocopier woman
Ana Maria Fernandez ... Jano's wife
Carlos Silvio Poma ... Dr. Lara
Eduardo Jesus Chaig ... Doctor
Juan Solis ... Doctor
Roberto Bernacki ... Doctor
Oscar Victoriano Sarmiento ... Doctor
David Daniel Torino ... Doctor
Eliana Santillan ... Servant
Alejandro Leonidas Diaz ... Pool worker
Florinda Rosa Guamante ... Caretaker
David Mansilla ... Hotel porter
Pablo Arias ... Hotel porter
Marcos Reynoso ... Phone assistant

Directed by
Lucrecia Martel 
 
Writing credits
(in alphabetical order)
Juan Pablo Domenech  contributing writer
Lucrecia Martel  written by

Produced by
Agustín Almodóvar .... co-producer: El Deseo S.A.
Pedro Almodóvar .... executive producer
Tilde Corsi .... associate producer
Esther García .... executive producer
Alfredo Ghirardo .... co-producer
Nora Kohen .... co-producer
Cesare Petrillo .... associate producer
Vieri Razzini .... associate producer
Gianni Romoli .... associate producer
Lita Stantic .... producer
Álvaro Urtizberea .... co-producer
 
Original Music by
Andres Gerszenzon 
 
Cinematography by
Félix Monti 
 
Film Editing by
Santiago Ricci 
 
Casting by
Nicolas Levin 
Natalia Smirnoff 
 
Art Direction by
Graciela Oderigo 
 
Set Decoration by
Fernando Brun 
 
Costume Design by
Julio Suárez 
 
Makeup Department
Marisa Amenta .... makeup artist
Marcelo Iúdice .... hair stylist
Etelvina Veron .... hair stylist
 
Production Management
Matías Mosteirín .... production director
Marta Parga .... production manager
Marta Parga .... production supervisor
 
Second Unit Director or Assistant Director
Florencia Blanco .... assistant director
Natalia Smirnoff .... assistant director
Fabiana Tiscornia .... assistant director
 
Art Department
Angélica Alvear .... set dresser
Martín Libert .... property master
 
Sound Department
Guido Berenblum .... sound
Marcos De Aguirre .... sound
Roberto Espinoza .... foley artist
David Miranda .... sound
Victor Alejandro Tendler .... sound
 
Visual Effects by
Sergio Rentero .... visual effects supervisor
Rodrigo Tomasso .... digital restoration (uncredited)
 
Camera and Electrical Department
Luisa Cavanagh .... video assist
Lucas Guidalevich .... film recorder operator: Cineon
Daniel Hermo .... gaffer
Manuel Rebella .... electrician
Victor Vasini .... film recorder operator: Cineon
 
Other crew
Gustavo Guido .... production assistant
Carola Jalife .... continuity
 

Production CompaniesDistributors

Additional Details

Also Known As:
"La niña santa" - Argentina (original title)
See more »
MPAA:
Rated R for some sexual content and brief nudity
Runtime:
106 min
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:13 | Austria:12 | Belgium:KT | Brazil:14 | Canada:PG | France:U | Ireland:15A | Italy:T | Netherlands:12 | Spain:18 | Switzerland:14 (canton of Geneva) | Switzerland:14 (canton of Vaud) | UK:15 | USA:R (certificate #41466)
Filming Locations:

Did You Know?

Soundtrack:
Cara de GitanaSee more »

FAQ

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22 out of 31 people found the following review useful.
An extraordinary achievement, 6 June 2005
Author: Howard Schumann from Vancouver, B.C.

The combination of budding adolescent sexuality and Catholic Sunday School sermonizing leads to confusion and trouble in Lucrecia Martel's remarkable second film The Holy Girl. Similar in style to Alain Cavalier's masterful Thérése, another film about religious fervor, The Holy Girl is an extremely intimate series of minimalist vignettes in which the story unfolds in glimpses and whispered conversations, in "a slow reverie of quick moments". As in Thérése, there is no approval or disapproval of behavior, only a snapshot of events that the viewer is left to interpret -- and it can be a challenge.

Set in La Salta, the same small Northern Argentine town as Martel's first feature La Ciénaga, the film takes place at a run down hotel that is hosting a medical convention of ear, nose, and throat doctors. The scene is a constant flux of people and movement and it is difficult at first to sort out the characters. Amalia (Maria Alché) is the sixteen-year old daughter of the hotel's manager Helena (Mercedes Moran) who is recently divorced and lives with her brother Freddy (Alejandro Urdapilleta). Helena suffers from an inner ear problem that is reflected in a discordant ringing noise that affects her relationship with the world around her.

As the film opens, Inés (Mia Maestro), a young Catholic teacher leads a group of girls in choir practice. "What is it, Lord, you want of me?" she sings. Overcome with emotion, tears well up in her eyes but Amalia and her friend Josefina (Julieta Zylberberg) merely whisper to each other about the teacher's alleged love affairs. The talk in class is about the student's "mission" and how they can recognize the signs that point to God's calling. Amalia thinks she sees a sign when a doctor attending the conference, Dr. Jano (Carlos Belloso) goes in for some sexual touching while she stands in a group listening to a performance on the Theremin, an instrument that is not touched, but is played by disturbing the surrounding air (perhaps the way adults ought to deal with adolescents).

The character's motivations are complex and defy easy categorizing. Jano is a family man with children but seems driven by sexual longings. Helena, still seething that her ex-husband has just fathered twins by his new wife, is attracted to Jano but her advances are not reciprocated and her relationship with Freddy has a hint of more than brotherly love. Josefina teases her young cousin but holds back from committing herself, yet fully engages in kissing with Amalia, though what it means to them is uncertain. Amalia thinks that her mission is to save Dr. Jano and seductively follows him around the hotel, even entering his room when he is not there. At first not relating Amalia's stalking to the incident in the crowd, Jano becomes fearful that his medical career will be jeopardized when he discovers her identity, but the die is cast and Amalia's casual relating the incident to Josefina leads to unintended results.

The Holy Girl is elusive and somewhat disorienting, yet it remains an extraordinary achievement, full of intensity and crackling tension, true to the way people act when they are dealing with feelings bubbling beneath the surface. The girls live in their own little world, oblivious to the havoc they have unleashed and it is Martel's brilliant direction that allows us to enter that world, and it is not always comfortable. What happens in the film may be inappropriate but it never seems perverse. We expect the characters to be either heroes or villains but Martel sees them only as flawed human beings. Like the knowing half-smile etched on Amalia's face, her universe is imbued with a mystery that simply observes rather than evaluates. If the ending does not provide us with immediate gratification, it may be because it respects that mystery.

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Message Boards

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Recent Posts (updated daily)User
Cada del hombre desnudo (Fall of naked man) offtherecord22
Songs played on Theremin victorc-rodrigues
This movie doesn't represent the Argentine society cecizon
Worst argentinian movie jpdiez
So,did dr.Jano and Amalia had sex or not? NaomiCroatia
Can someone tell me what kind of time period is this movie ? hopeperfect
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