Martel is the poet of the South American upper middle class. Most great artists have a particular social milieu that they master. She loves to zoom in close on a character's face while he or she goes about seemingly mundane business, catching fleeting moments when something unusual passes across the person's face like a shooting star, indicating hidden depths of feeling or motivation of which the character may not even be aware. In the middle of a completely banal sequence, such as a family methodically making dinner or washing clothes, Martel will capture one little gesture that reveals a world of information about the power structure governing the family and the larger social order of which the family is a part. She constructs ultra-flat surfaces that beautifully capture the rhythm and tone of ordinary life. "Deadpan" is the word that kept coming to mind as I tried to describe Martel's approach. The film has a tremendous amount of content, but none of it is delivered in obvious or familiar ways.
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In fact, we've gotten so used to superficiality in film in the last 15 years that audiences may have trouble knowing how to take in "The Headless Woman." It also may be hard for audiences to accept Martel's originality.
I found much of "The Headless Woman" riveting and deep. I consider it a privilege that I got to see a film of this artistic caliber. I can certainly understand why the film attracted so much attention on the festival circuit last year.
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It's not the most thrilling movie ever made, but it is very exciting to see a new form of cinematic storytelling getting invented. I've never seen a film quite like "The Headless Woman," from Argentina's Lucrecia Martel. All of which works well in a way but after a partial resolution, the movie eventually just grinds to a halt. In fact, they have two, both in law school. Her elderly mother says they do not have any children but then she is corrected.
Eventually her head clears, allowing us to know more about her. And the movie plays with this by having police at the hospital where she gets treated but they are not there for her. Her possibly having a concussion also leads to a sense of dislocation. What we know is what the movie tells us by showing children and a dog playing in the same area before she gets there, so it could be either. She is not sure what she may have hit but does not do the right thing by stopping right away, either.
Soon afterwards, she runs over something in the middle of the road with her car while trying to answer her phone, bumping her head in the process. Ever since she dyed her hair blonde, she does not recognize herself anymore. "The Headless Woman" is a compelling movie about Vero(Maria Onetto), a middle-aged successful dentist in the middle of an identity crisis.
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