An embittered law student commits a brutal double murder; a family man takes the fall and is forced into a harsh prison sentence; a mother and her two children wander the countryside looking for some kind of redemption.
An intimate, picaresque inquiry into French life as lived by the country's poor and its provident, as well as by the film's own director, Agnes Varda. The aesthetic, political and moral ... See full summary »
This film is centered around Vero, an Argentinean bourgeois woman, and how her life slowly twists out of control after she hits something, or someone, with her car. Here comes the incident that changes everything, as Vero is driving, she is distracted by her cell phone and looks down to get to it. By the time she does this, her car hits something but the camera stays in it as we see her car shaking and rattles. Although Vero seems indifferent about the situation, it is clear that it has a toll on it as she acts different from the Vero that we saw briefly at the beginning of the film. She acts clumsy and out of place, barely saying anything, and when she does, it doesn't always make sense or has a lot of substance. This solidifies towards the end of the movie when she is going to retrace her steps to remember her memory, but in the hospital and the Hotel she stayed in, there was no record proving that she was there. This makes the audience wonder if all this really happened or if Vero,... Written by
If you prefer snapshot melodrama, rent an American movie
The Headless Woman is about a woman's psychological cover-up to her hit-and-run accident. And it's about her family, who purposely hide all evidence of the accident to save her, and themselves, from retribution. Not unlike what other apathetic, well-to-do families all over the world attempt when a relative is in trouble.
Look, this movie isn't hard to follow, or swallow. Lucretia Martel sets everything up brilliantly, from allowing us to see the family dynamics - close knit clan, lots of family get-togethers - to Vero's denial and unraveling.
Martel brilliantly directs the extremely talented Maria Onetto (Vero) through appropriate emotionality; done in time and space that is highly realistic. So, if you prefer snapshot melodrama, rent an American movie. Otherwise, watch and connect to Vero's family and their mendacity, or watch and boo at the mythomaniacs and their cover-up, not Ms. Martel.