As the credits faded to Shadow of the Cat (2021-also reviewed) I got in the mood to catch a non-Horror title from Argentina. Finding a DVD from the country I've got that I have been to play,I got set to cross paths with a headless woman.
View on the film:
Pinned down with fear in the car as she drives away after hearing a bump,Maria Onetto gives an incredibly brittle performance as Veronica, whose unshakable guilt that she may have run over someone is seeped by Onetto into Veronica's daily family life until the uncertainty becomes too much to take.
Cleverly making the audience draw their worst fears of what has been hit by holding the camera firmly on Veronica as the loud noise of someone or something being run over is played outside the car, writer/directing auteur Lucrecia Martel & cinematographer Barbara Alvarez examine the guilt and shame engulfing Veronica, (major recurring themes in Martel's works) with a French New Wave-flavour clinical Thriller atmosphere.
Filling her discreet charms of the bourgeois household with the disturbed scent of guilt that is hanging on Veronica, Martel takes a subtle touch with a scalpel of singling out Veronica in cold, hard single shots on the increasingly isolated Veronica, with the family members who are chatting inn the background and whom she is only half listening to,being blurred, which reflects on Veronica's fear of looking back to get a clear picture of what's taking place.
Dissecting the guilt and shame that she is struggling to contain, the screenplay by Martel uncoils a cerebral character study Thriller on Veronica, where at the center of what from the outside looks like a pristine bourgeois life, no easy answers or comfort is given to the reverberation of the horrifically unsettling sound coming from behind the car of Veronica.
View on the film:
Pinned down with fear in the car as she drives away after hearing a bump,Maria Onetto gives an incredibly brittle performance as Veronica, whose unshakable guilt that she may have run over someone is seeped by Onetto into Veronica's daily family life until the uncertainty becomes too much to take.
Cleverly making the audience draw their worst fears of what has been hit by holding the camera firmly on Veronica as the loud noise of someone or something being run over is played outside the car, writer/directing auteur Lucrecia Martel & cinematographer Barbara Alvarez examine the guilt and shame engulfing Veronica, (major recurring themes in Martel's works) with a French New Wave-flavour clinical Thriller atmosphere.
Filling her discreet charms of the bourgeois household with the disturbed scent of guilt that is hanging on Veronica, Martel takes a subtle touch with a scalpel of singling out Veronica in cold, hard single shots on the increasingly isolated Veronica, with the family members who are chatting inn the background and whom she is only half listening to,being blurred, which reflects on Veronica's fear of looking back to get a clear picture of what's taking place.
Dissecting the guilt and shame that she is struggling to contain, the screenplay by Martel uncoils a cerebral character study Thriller on Veronica, where at the center of what from the outside looks like a pristine bourgeois life, no easy answers or comfort is given to the reverberation of the horrifically unsettling sound coming from behind the car of Veronica.