La mujer sin cabeza (2008)

Director:

Lucrecia Martel

Writer:

Lucrecia Martel (writer)

Release Date:

21 August 2008 (Argentina)

Genre:

Drama | Mystery | Thriller

Plot:

After running into something with her car, Vero experiences a particular psychological state. She realizes she might have killed someone. |

Awards:

2 wins & 4 nominations

Cast

María Onetto	...	Verónica
Claudia Cantero	...	Josefina
César Bordón	...	Marcos
Daniel Genoud	...	Juan Manuel
Guillermo Arengo	...	Marcelo
Inés Efron	...	Candita
Alicia Muxo
Pía Uribelarrea
María Vaner	...	Tía Lala

Also Known As:

The Headless Woman (International: English title) (USA) (festival title)
La donna senza testa (Italy)
La femme sans tête (France)
La mujer rubia (Spain)

Runtime:

Argentina:87 min | USA:87 min

Country:

Argentina | France | Italy | Spain

Language:

Spanish

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Dolby Digital

Certification:

Argentina:13 | Spain:7 | Portugal:M/12 | France:U

Filming Locations:

Salta, Argentina

Company:

Aquafilms

Almost excellent...again

At once exquisitely crafted and exasperating, Martel's latest reflects the confused mental disintegration of a character whose problems are variably inchoate. Her crisis seems spurred by an act of accidental murder--in the countryside, she runs over something.

That it was a German Shepherd is clearly represented in one distinct post-impact shot following a prelude in which the hound is shown playing with several children. But afterward our protagonist (a dyejob-blonde, middle-aged, upper-class woman) has strange ideations of having killed a human being. Is that what really happened? Or is it just her guilt from...whatever?

There's nothing unintended in this very precisely directed movie, but at the same time its ambiguity can be frustrating. (Perhaps less so if you're better acquainted with Argentine class/race issues than me.) It's a mystery without a resolution, a thriller minus thrills. That's OK, but even as deliberate enigma "The Headless Woman" seems somewhat stillborn. (Think what Antonioni circa 1960 could have done with it!)

It's full of interesting detail yet void of larger meaning or narrative direction; intriguing in a way that stops just short of utter fascination. You can't fault the director or her actors for falling short--it's the script (also by Martel) that ends up a little too amorphous.

It's not often you see a movie that feels so close to brilliant, yet something indefinable is missing. This is a good film that perhaps in coming years will gain a reputation as an overlooked masterpiece--and while I can't sign on with that opinion right now, I can see how it might accumulate.