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
I found the film fascinating. It has a rhythm that is present in Martel's other film, La Ciénaga (2002) and is also filmed mid range. Martel's films are recognizable as being hers without prior knowledge.
I notice none of the other reviewers mentioned the symbolism that is present throughout the movie, most notably water - the characters are always going to take showers, or mention the prospect of rain, or are thirsty. Also, they always seem to be in confined spaces - a car, a small room, the husband's new swim trunks are too tight. I was fascinated by the symbolism, but have not found anyone to discuss it and try to interpret it with.
As with La Ciénaga, La Mujer Sin Cabeza, is overall a fascinating view of Argentine upper middle class family life.
3 of 5 people found this review helpful.
Was this review helpful to you?
| Report this