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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 »
User Reviews:
Catholic Dolores Haze 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 »


This FAQ is empty. Add the first question.
Catholic Dolores Haze, 6 January 2013
Author: chaos-rampant from Greece

As far as I'm concerned, the film is an outstanding achievement in cinematic narrative, I'm tentatively including it as one of the very best I have seen. A lot of viewers have complained about the slumbering, monotonous tone and the filmmaker's insistence to not explain her vague story, which capped off by the high-handed gesture of the ending—the only note off for me—can give the impression that this is another in a long list of 'artsy', fashionably minimal film festival fodder.

Fair points, but consider something else.

The story is fairly simple, a Catholic girl looks to save the soul of a middle- aged doctor.

I'm not sure if Lolita was consciously the template, indeed the film differs in obvious ways—the doctor makes covert sexual advances, but he is a sincerely troubled man, and from her end the girl perceives these to be a sign from god that this man has strayed and needs saving. There is family dysfunction as background and a lot of religious talk on the divine plan.

The basic means of expression are in Altman's mode of drifting narrative gaze, but with the difference of a static camera and the drift carried through in the movement of bodies and sound. If you read up on what the filmmaker has to say, she reveals stumbling on to this in an interesting way, not via film school but intimate observations of family. She seems like an alert, curious mind.

The film begins in a shapeless, rumbling state, and only gradually establishes a few things; the place is a hotel, a doctors' convention is scheduled to take place, the man is married with kids, the girl's mother is divorced. It only begins to acquire shape when both the girl and her mother take an interest in the sullen man. Pretty ordinary stuff so far.

Here's where it gets really cool.

The notion is that there is a a sign which female intuition picks up, the sign kicks off a story of connection, but for obvious reasons the story cannot be consummated in the open, it has to be submerged, disguised for busy, prying eyes. (the hotel residents' as well as our own)

Now have a look at these narrative devices; the man in the shop-window who creates invisible sounds as spectacle, the sign as remote sounds of hunters' gunfire which alarm the girl, the talk of an invisible godvoice, the mother's unexplained persistent earbuzz, both the mother and the doctor have acted in plays (the doctor as a doctor!), a doctor- patient re-enactment before an audience proposed to the mother by the taciturn doctor. And the most revealing, another doctor is caught in mischief with a young girl, which foreshadows shame and public embarrassment.

The core scene that perfectly encapsulates what this is all about, is when we discover how the man in the shop-window is producing his peculiar sounds—a theremin, calligraphic hands drawing from thin air the shape of sound, something out of nothing, which is how the film comes into being.

As characters move through the world, they create soul-revealing currents in the ether which on the topmost level acquire some dramatic shape. All this is deeply Lolitaesque—a story which is both the story and faintly reveals the haze of urges (sexual, spiritual) of hidden inner selves as they shift and shiver behind their acceptable roles in that story.

Each of these devices amazes. I was in awe of a few.

Together, they suggest one of the brightest, most intelligent voices in film these days, one of only three working now for me. What's keeping her back? For my taste, the unoriginal camera, she just hasn't yet discovered her own calligraphic eye, though I'm sure that is in her future. For all I know, she has found it in her next film.

I wish her the best of luck. In the meantime, see this and contemplate on the rich tapestry she has woven.

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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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