Oblique but hauntingly resonant, Argentinean auteur Lucrecia Martel’s follow-up to The Holy Girl wraps psychodrama and socio-political allegory in enigmas.
Why does a well-to-do dentist flee a car accident? Head-scratchers mount: we know she killed a mutt but did she also hit a missing shanty-town kid?
As she continues her daily life, is her dazed denial the result of trauma or middle-class alienation? Headless favours mystery over answers but magnetises with a focus on the elusive mindset of its protagonist (María Onetto). No explanations, no extras: enigmatic to the last.
