Martel’s atypical tale is for the senses.
The topic of the role of religion in contemporary society often provokes heated arguments – morality is a loaded issue especially when temptation is involved. Hence, La Niña Santa is such an interesting detour as it looks at how the devil works in people who are only trying to do good. Under the guise of brother/producers the Almodovars, this second feature film from Argentinean director Lucrecia Martel takes on the image of well-behaved catholic school girls and do-good doctors in white and spits that image out with a sensual overtones and sexual undertones.
Covered over the approximate span of a week and set mostly around a family-run, 2-star hotel, this drama about bad and good intentions is also an examination at social and anti-social behaviouralism. A conference in the small town allows for a little deviancy from a middle-aged man known as doctor Jano. Unbeknownst to him, when he manifests his desire he also sends an adolescent into hormonal overdrive.
Amalia (actress Maria Alche) questions her faith and in the same token fantasizes that her future sexual explorations are an act of goodness in the eyes of god. A piercing pair of eyes ultimately creates havoc for the sexual immature man, and what unravels in the odd triangle of attraction is generously real-life.
Clear strategies in how the narrative construction is layered out, how the tension is applied and the choice in location spreads out the various stages of emotions from all parties – each sequence appears to add an emotional subtext to the sentiments going on in the different hallways. The hotel’s different levels offer an interesting labyrinth of areas embedded with secrecy and private moments. There is a confining atmospheric quality to the film – mostly brought about by the how the players are framed and this close proximity allows viewers to be smitten by these characters with complex motives inside a somewhat vague narrative.
In a fusion of religion and taboo, The Holy Girl tries to decipher how society is a stickler for those boundaries of good and evil. Martel contextualizes the film with a largely non-complacent message, but she easily draws in viewers with her package of thematics that revolve around temptation, sin and desire. Each scene seems to let things happen – details and emotions are supplied in a non-traditional, sometimes unclear form and the fascinating no-resolution ending comes across as the perfect touch. This is a clearly a film which holds mainstream audiences at bay and lets arthouse crowds appreciate a more intangible yet infectious effort.
Viewed in Spanish with English subtitles.