What It Hurts to Remember Becomes Convenient to Forget
di Stephen Holden The New York Times
A full appreciation of Lucrecia Martel’s elegant, rain-soaked film, “The Headless Woman,” requires the concentration and eye for detail of a forensic detective. Every frame of this brilliant, maddeningly enigmatic puzzle of a movie contains crucial information, much of it glimpsed on the periphery and sometimes passing so quickly you barely have time to blink.
The film is set in the same region of northwestern Argentina, near Salta, as Ms. Martel’s first two films, “La Ciénaga” and “The Holy Girl. [...]
di Stephen Holden, articolo completo (5188 caratteri spazi inclusi) su The New York Times 19 agosto 2009
twitter
diventa fan
