Critic Reviews

Brilliant, maddeningly enigmatic puzzle of a movie.

No simplistic status parable. It’s more a psychological snapshot of a person forever doomed to remain a voyeur to her own life

Martel's vision is so visually rich and complex it borders on the impressionistic, but The Headless Woman would be nowhere without the precise tour de force performance by Onetto.

A remarkably nuanced, ever-evolving performance (María Onetto).

This is also the first of Martel’s films to build in a direction other than up. The film’s lateral movement continues a kind of class commentary.

Guilt and alienation from Argentina’s Lucrecia Martel, so arty, enervated, and allegorical it might have been made by a European in the early sixties.

As dense and fluid as Martel's movie is, the viewer--like the protagonist--is compelled to live in the moment. And a rich moment it is.

Slow-paced and self-indulgent in places but a bravely intense use of camera work to explore the internal psychology of the characters.

A simpler and more taut, if slightly less interesting version of the oblique but mesmerizing studies of family life in fetid, hothouse atmospheres the Argentine helmer offered up in "La cienaga" and "The Holy Girl."

Not the supernatural horror picture its title suggests, but this subtle, elliptical film evokes its own kind of nightmarish situation.