By Chlotrudis Independent Film Society
Year: 2009
| The Headless Woman (Argentina/France/Italy/Spain; 87 min.) directed by: |
 |
| Bruce says: “THE HEADLESS WOMAN is a state-of-mind study. Vero (Maria Onetto), a successful dentist, climbs in her car and drives along a dirt road a popular shortcut which is next to a canal. Shortly before, we saw three boys and a dog playing in the same area. Vero’s cellphone rings and, as she fumbles for it, the car lurches after a loud thump is heard. For whatever reason, she does not stop the car. A sizeable shape is visible in the rear view mirror. Did she hit a boy, a dog or some trash in the road?
“Vero has hit her head and is feeling dizzy. She immediately goes to a clinic where she is x-rayed. Next, she goes to a hotel room to rendezvous with a lover. Eventually she heads home where she is greeted affectionately by her husband. The next day she is too disoriented to go to her office. Instead her husband offers to see her clients. The next few days reveal complications in what initially appeared to be an easy and straightforward life. It turns out her lover is not only her cousin but one of her husband’s best friends. Her sister is wrapped up in plans for a wedding and taking care of her daughter who has hepatitis and lesbian tendencies (a combination not likely to have appeared on film before now.) “Vero’s tests are all negative, proving the fine line running between the physical and emotional self. The film carefully illustrates the idiosyncrasies of Vero’s thinking as she becomes increasingly more confused by the accident. But the film also has undercurrents that speak volumes about the two-tier class system of Argentina and the convoluted states of marriage into which some couples evolve. When Vero finally vocalizes her concerns about hitting a child her household staff and others in the working classes with whom she has contact go out of their way to assure her that she did nothing wrong. Nonetheless, Vero perceives every phone call and every vague remark as a reminder that she has done something reprehensible. Background noises confuse and annoy her. When a body is retrieved from the canal, Vero is certain that all signs will point to her as the responsible party. “Lucrecia Martel has done an excellent job in creating the proper atmosphere for her cinematic essay. She beautifully illustrates the fine line between imagination and reality as long as she focuses on Vero. Ultimately, however, THE HEADLESS WOMAN does not always add up to interesting drama asMartel’s attempts to introduce subplots never achieve success. 3 1/2 cats“ |
| Thom says: “THE HEADLESS WOMAN made by Lucrecia Martel who was responsible for both LA CIENAGA & THE HOLY GIRL (both made a big splash on the International circuit), was lovingly made but too abstract for my tastes. A woman runs over an object (human?, dog?) and flees the scene. She spends the rest of the film trying to tell people what happened. The film had no resolution. Acting was strong, especially María Onetto as the troubled driver. 3 1/2 cats” |