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These bloodstained hands rinse too easily the drama does not lie in their indelible mnemonics, but in the retroactive thrills of remembering the crime at all. More damningly – does she need someone to call her a cab? Where did she park hers? That weekend, a fierce storm shakes the city and the rains wash down in a cosmic allegory. Does she need a morning coffee? Her husband does, so she should make some. Her routines are insistently re-established – is she hungry? No, but a sandwich is somehow still delivered to her hotel room. There is no one to corroborate her suspicions, never mind the possibility of a homicide, and her family is eager to forget the incident entirely.
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The film mirrors her concussive state, more intermittent incursions of panic than a Lady Macbeth-style plummet into self-annihilating guilt.
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Véro comes to us with her head on, not a woman made weary by her off-screen past, but one who we see decapitated in full view, teetering towards chaos and navigating shakier and shakier ground. She pauses, hovering between possibilities, before smoothing down her hair with her red lacquered nails and revving up the car. A dog, or one of the indigenous boys seen playing by the road in the opening shot? The rear-view mirror suggests the former, but Véro has her own suspicions. When her phone rings, she looks down, and in that moment hits something with her car. She’s peroxide blonde and in sunglasses, the picture of glamour against a dirt road. In The Headless Woman, the thread begins here: Véro (Maria Onetto), a wealthy white woman, drives home after a big family gathering. How do you read a story that has the density of a long exposure photograph, all traces visible but dizzying in their heavy simultaneity?Īs far as individual culpability goes, guilt requires the narrative coherence of a perpetrator conscious of their wrongdoing, or at least a thread along which the events can be traced. Even so, her narration retains its layered form and sly accumulations. Unlike La Ciénaga (2001) and The Holy Girl ( La niña santa, 2004), both also set in the peripheral province of Salta in northwestern Argentina, The Headless Woman sees Martel focus on a central character for the first time. But Martel’s films feel otherwise: characters move in the foreground, midground and background, askance in the frame entire stories unfold right next to each other, one silent and the other sharp with sound. Habitually, we defer to the ordinary illuminations of chronology and its ways of streamlining through omission. What might history look like if guilty minds unspooled en masse? Collective memory allows only so much deviation from its central narratives the rest is marginalia by a different hand.
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In Lucrecia Martel’s The Headless Woman ( La mujer sin cabeza, 2008), the protagonist bears her guilt so singularly you almost wish it were contagious.