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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Lucrecia Martel (written by)
Juan Pablo Domenech (contributing writer)
View company contact information for The Holy Girl on IMDbPro.
Release Date:
6 May 2004 (Argentina) See more »
16-year-old Amalia looks to save the soul a middle-aged doctor. Full summary » | Add synopsis »
3 wins & 6 nominations See more »
(20 articles)
Desire Without Language
 (From MUBI. 13 October 2014, 5:51 AM, PDT)

Match Factory strikes for Martel's Zama
 (From ScreenDaily. 13 May 2014, 11:00 PM, PDT)

Buenos Aires Festival Opens Path for Local Talent
 (From Variety - Film News. 30 March 2014, 9:13 AM, PDT)

User Reviews:
Awful, aimless and painful like a lingering sore. See more (37 total) »


  (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 »
Rated R for some sexual content and brief nudity
106 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
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?

Cara de GitanaSee more »


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3 out of 7 people found the following review useful.
Awful, aimless and painful like a lingering sore., 26 December 2005
Author: ncberman from United States

Looking at some of the other user comments, I realize that many sought to extol the purported virtues of this film, professing Lucrecia Martel's artistic brilliance and method for capturing personality and conflict as demonstrated in this, her "ouevre," but as far as I'm concerned, these people must be blind, if not also deranged. This movie is abysmal. It's inert, without direction and a true chore to finish. The first hour and a quarter scarcely set the stage, with the duration moving no quicker or more palatably, and I'm more than patient with artistic efforts that appear to want for plot, but this was pointlessly plot less and otherwise utterly bereft of potentially other redeeming features. The bulk of the acting is mediocre to average, Martel's writing without flair or innovation, and the camera work and editing pretty much boring. Why Almodovar was willing to put his name on this work (and I'm convinced that it was his name and no more, based on the wretchedly lobotomizing slowness of the story, bloviating banality and clear absence of captivating content) is beyond me. And I would like to clarify that this dreadful film school fare should not even be included in the same paragraph, let alone be the subject of any direct comparison (unless it is a profoundly disparate one) to any of the following: Amores Perros or any of Inarritu's work, any actually-Almodovar-created work, the Cuaron Bro.s' Y Tu Mama, Salles' Motorcycle Diaries or Central Station, Meirelles' City of God or even the pretty but anticlimactic Carrera's Crimen del Padre Amaro. And I actually think that the scene settings, character list and cast had real possibility and promise: Mia Maestro (as the young Catholic teacher leading and incessantly lecturing the group of girls in choir practice in sanctimonious catechism-worthy restraint and denial of any sensation or sexual awakening, whom Amalia's friend Jose(fina) claims to have seen making out with a clandestine lover) is pretentiously chaste and overtly uptight but so comely and foreseeably coquettish that I would killed to have seen her character more developed or perhaps the explicit aforementioned trysts; María Alché is sufficiently intriguing, complex and coy that far more could have been done with her, apart from the dilapidated swimming pool and sneaking up on the tragically-boring Carlos Belloso/Dr. Jano; and, well, that's about it. Oh, I almost forgot, I will give Martel this: speaking from the somewhat limited experience as the son of a pathologist and a nurse, Martel DOES manage to capture how deliriously boring and maimingly monotonous a medical convention can be (otorhinolaryngologists no less, their motto would rightly be "fun with phlegm"), particularly when held in a craphole motel (think Leaving Las Vegas' witty "The Whole Year Inn"-cum-"The Hole You're In") and further exacerbated by a tediously planned dramatization of how to conduct a patient interview (a device Martel must have found brilliant since she devotes exponentially more time to this than anything else). Please, if you take nothing else away from my admitted logorrhea, synthesize this: this movie is awful, Martel likely a hack worthy of condemnation rather than scatologicaly-founded praise, and above all else, I implore you, DO NOT WASTE YOUR TIME!

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This movie doesn't represent the Argentine society cecizon
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