While Lucrecia Martel’s The Holy Girl/La
Niña Santa offered a narrative that continually shifted and gave us a perplexing study of the laws of attraction, her latest feature, and what I dubbed as a pre-festival “must see” is perhaps too monotone and perhaps not distracting enough when zeroing in on the plight of the lead character – who suffers from more than bruised forehead and damaged front end of a car. La Mujer sin
cabeza (The Headless Woman) runs with one flat note throughout – and being shell-shocked is transmitted without the required oomph. [Note: Full review coming soon].