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802:, they talk about Martel and how her works impacted many, and that “In addition to such popular expressions of admiration, Martel’s films have received critical acclaim, prestigious awards and significant scholarly attention, both in her native Argentina and among scholars of global cinema. Yet to date no one volume has set out to provide a comprehensive view of Martel’s work (whether in fiction, documentary or essayistic short film) and of the range of critical responses it can generate. The chapters in this collection are authored by some of the most prominent scholars of Martel’s films and by emergent voices, and offer a fresh set of perspectives (alongside two translations of landmark essays not previously available in English) that build on existing critical trends and suggest promising new avenues for research.”
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471:("Short Stories", 1995). Martel explains that this compilation film was "unprecedented in the country" and came about after all the directors of the other winning short films in the script contest banded together and visited the INCAA headquarters in Buenos Aires repeatedly to ask the contest organizers to premiere all the short films as a string of films in a theater. Martel says that she and her fellow filmmakers "sat for hours until would meet with us. We argued that it was a waste of state funding if they didn't exhibit the finished films." As a result, the films were exhibited on the dedicated screens of the national public circuit run by INCAA. Martel says that the premiere of
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especially fascinated by the way her grandmother used different sounds, tones, and carefully selected pauses to establish "atmosphere" in her scary, fantastical stories. "As a child," Martel says, "and even today, I have always been captivated by the form not only of stories and storytelling, but also of conversation and the way people pause and leave space for someone to intervene. All the ways that, especially when you're a child, you're charmed and steered just by words alone." She says that her fascination with this "world of conversation" in oral storytelling is what fueled her passion for cinematic storytelling and the emphasis on sound in her films.
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journalists and media analysts. Of course, it was an area of
Argentine culture that had been hit especially hard by the years of dictatorship. There were very interesting professors who were returning from exile at the time, people with more left-leaning ways of thinking. It was a good moment for the program because no one quite knew exactly what this career entailed." She completed all of the degree requirements, she says, but "didn't do any of the paperwork toward receiving the degree". However, she believes that her time at the school "helped out a lot".
377:. Since over 1,000 people signed up for the exam and only 30 vacancies existed at the school, applicants were required to take a "huge qualifying course", which Martel says she spent months preparing for. After she "finally got in", the school closed due to lack of funds. "When school was supposed to start," she says, "the economic crisis was already so severe that there weren't any professors or materials. We didn't have classes. The only real possibility was to study
828:: "I sent my idea of how to adapt it to the producer, and he was interested. I also know that members of the Oesterheld family liked it." According to film scholar Deborah Martin, Martel was adapting it as a "meditation on power and social class in Buenos Aires." In 2009, however, the project was dropped, after significant work had been undertaken on it, due to conceptual differences with the producer.
962:, it narrates the tragic story of Don Diego de Zama, a Spanish colonial functionary stationed in Asunción, Paraguay who waits, in vain, for his superiors to authorize his return home to his wife and family. It was an international co-production among eight countries: Argentina, Brazil, Spain, Mexico, France, the U.S., the Netherlands, and Portugal, with stars like
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stuff," she says. "My family got used to it because I was always filming...There are two or three years in our family life where I don't appear at all in videos or photos, because I was always behind the camera. It was the discovery of something that fascinated me, but it didn't seem to me then that my future could be related to that."
615:, 2008)"...Martel's work is finely tuned to the particular rhythms and values of provincial middle-class Argentina, a world whose economic stagnation and moral bankruptcy she dissects through narratives that play on viewers' sympathies by constantly shifting between favorable and unfavorable perspectives on her characters."
350:, a nearby province. "Suffer uncertainty" and trying to decide "what to study or do with life", she farmed pigs that year, too—breeding, raising, and selling them—and even considered making it her future livelihood. However, poor sales of just two pigs per month proved it would not be a feasible career option for her.
424:("You Won't Get Her, Bastard", 1989), a short film about a jealous boy who fantasizes about killing his mother's boyfriend. Film scholar Deborah Martin wrote that in the film, "there is an exploration of the subversive power of children that would become a crucial feature of later work, as a little boy's murderous
587:"Martel's filmic trilogy about life in the province of Salta, Argentina," writes film scholar Paul A. Schroeder Rodríguez, "explores the country's incomplete transition to democracy from the perspective of strong, intelligent, and socially privileged female protagonists who do not conform to dominant
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located about 5.5 miles away, which Martel describes was a significant commute at the time. "Something of the scientific spirit in me remained," she says regarding her decision to enroll in the school, "and I liked how animation was very technical, precise, and controlled". At the school, she started
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Martel first used a video camera when she was "15 or 16" years old, she says, after her father bought one to store memories of their large family. "A very big investment for us," she says of the camera, nobody in the family used it but her. "I began recording conversations and everyday things: family
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In primary school, Martel's uncle helped her develop interests in mythology, Greek, and Latin languages. In fifth grade, she set her sights on gaining admission to the elite, "ultra-Catholic" secondary school
Bachillerato Humanista Moderno, because it was the only school in Salta that offered classes
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film series, which consists of short films produced in conjunction with high-profile international female directors. Directed and co-written by Martel, the film depicts a luxury modernist ghost ship haunted by faceless, insect-like female creatures attempting to rid themselves of the only man trying
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on Martel's oeuvre, published in May 2016, in which she argues that Martel's films "demonstrate possibilities of rupture and escape through her cinematic recreations of rebellious young girls' forbidden desires.... Despite the fact that these films depict in detail structures of social and political
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23 times, analyzing the montage. We would watch a film many times to learn how it was edited. I was learning in many different ways—participating in short films that friends were making, helping with production or photography, anything just to keep learning." Martel has maintained in interviews that
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and spoke against abortion. Feeling uncomfortable, she decided to distance herself from the faith and leave the school to pursue the new communication sciences degree program at the
University of Buenos Aires. She describes the program as "a typical post-transition-to-democracy program made to train
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about a real and tragic love story between a priest and a young lady of Buenos Aires high society. Impressed with the film's women creators and mainstream success, Martel says that as a result of the viewing she "thought the cinema was a woman's job", a "confusion", as she describes it, that "stayed
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called "a trilogy dedicated to women and Salta," writing, "The three scripts were written by her, the three films were filmed in Salta, and, in all, always, something unexpected alters family cosmology. The characters see the life that they have armed, but, although a magma of bad omens descends on
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Award, which honors and supports emerging independent filmmakers "who contribute to the world's visual culture and promote cultural exchanges". The jury recommended that she re-write the script to follow a more traditional structure around one or two protagonists, but Martel chose instead to retain
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was "very successful" and drew 10,000 viewers. "It also inspired people," she says, "to study filmmaking and to start making shorts. It was a really important phenomenon in spiritual terms. Curiously, many of the directors who began their careers at the time—'95 or '96—are still making films today.
989:, Mónica Yemayel wrote "Like the other characters of Lucrecia Martel, only now in the late 18th century, Diego de Zama is unable to take charge of his own life; his fate is left in the hands of others. The identity that he has imposed on himself and that others have imposed on him is his prison."
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artist-in-residence program, designed to inspire and support young international filmmakers working on their first or second feature film. As part of the program, Martel lived in Paris for four and a half months, attended forums and worked with film industry professionals in developing her second
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In her home, Martel says "there was a very deep devotion to storytelling." Her father, mother, and maternal grandmother
Nicolasa were "very good storytellers" and would tell her and her six siblings "lots of stories" to keep them quiet in bed while the adults took their afternoon siesta. She was
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The second of seven children, Martel was born and raised in Salta. Her father Ferdi owned and operated a paint shop, while her mother Bochi dedicated herself to the family. Her parents met in university (where Ferdi studied science and Bochi studied philosophy) and got married at 24 years old.
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and Martel's intellectual curiosity, they did not stop her from her pursuit. Eventually, Martel passed the demanding entrance exam and enrolled in the school in the sixth grade. Since she came from a "solidly middle class" family, as she stated in a revealing 2008 interview with
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extended family spending the summertime in a decrepit vacation home in provincial Salta, Argentina, was internationally highly acclaimed upon release and introduced a new and vital voice to
Argentine cinema. David Oubiña called it "one of the highest achievements" of the
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Film scholar Paul Julian Smith wrote that although "Martel has had to rely rather on a cocktail of small, mainly
European, production companies" to fund her films, "industrial constraints and transnational flow have not compromised artistic individuality... severe
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because she was worried about their reaction to the implicit homosexuality depicted in the film. Her mother responded well and said she had known it since Martel was seven years old. Martel is in a relationship with singer
Julieta Laso, former lead vocalist of the
1099:, Martel was diagnosed with uterine cancer. She stated that her illness caused a delay in the film's post-production but ultimately catalyzed its completion. In November 2017, IndieWire reported that she has been in remission since late 2016.
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Martel's work has also attracted a good deal of academic attention. Many scholars have written extensively regarding the films' critiques of gender and sexuality, as well as its bold depictions of class, race, nationality, and colonialism.
499:, Martel says the show "became a cult for children.... It was not commercially known, but there are a lot of young people who saw it. Many of its actors are now stars of Argentine cinema." She also made two documentaries for television:
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Film scholar
Deborah Shaw argues that the trilogy "presents an anatomy of Argentine, bourgeois female identity" and "explores the micropolitics of gender, sexuality and location, rather than national narratives of oppression and
455:("Dead King", 1995), a violent western about a woman who escapes her abusive, alcoholic husband with her three children in a small town called Rey Muerto in provincial Salta. It went on to win Best Short Film at the 1995
298:, Martel felt like an outsider at the school. Her peers, she said, attended the school because their families expected them to, while she only attended it so she could study Greek and Latin. In a 2018 interview with
357:. The program combined creativity and technique, so she and her family thought it could work for her. Although Martel says she lost her Catholic faith at 15 years old, at the university she volunteered with
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is a series of books published by the
Edinburgh University Press that expands on various directors and their works. In this collective, Martel’s four feature films are discussed alongside her films such as
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Smith, Paul Julian (January 22, 2013). "Transnational Co-productions and Female
Filmmakers: The Cases of Lucrecia Martel and Isabel Coixet". In Parvati, Nair; Gutiérrez-Albilla, Julián Daniel (eds.).
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In a survey of 35 prominent film critics, scholars and industry professionals based in New York City, all three feature films figured among the top ten Latin American films of the decade, with
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at the University of Cambridge, where she offered a sequence of seminars on her filmmaking practice to students, staff, and the university community. Also in 2018, Martel was approached by
938:("The Empty Classroom", 2015), in which eleven award-winning directors examine the underlying reasons why nearly one out of every two Latin American students never graduates high school.
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may just be her left-field masterpiece; a picture that's antic, sensual and strange, with a top-note of menace and a malarial air." The film was chosen to represent Argentina in the
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Martel says that "just when was starting to think that film was impossible, that it was time for to get a (real) job," she entered a public script competition organized by the
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435:("The Other", 1990), a documentary about a man who talks about the joys and sorrows of his life as a transvestite as he dresses up as a woman to sing tangos at a nightclub.
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in the country. The film, Oubiña wrote, is "a rare expression of an extremely troubled moment in the nation's recent history. It is a masterpiece of singular maturity".
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That event inaugurated the activity of a lot of directors, and also a lot of young people's interest in film." Film scholar Haden Guest says it helped inaugurate the
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the script's diffuse nature. To cast the film's child actors, Martel held 2,400 auditions, 1,600 of which she recorded on video in a garage near her home in Salta.
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Not wanting to neglect her interests in the technical and the creative, while at the University of Buenos Aires she enrolled in a nighttime animation course at the
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932:, the film depicts how education, though a social tool, can also create division and discrimination. It was distributed as part of the anthology documentary film
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wrote "I hope Martel won't have to wait a further nine years before she makes her next film. She's too good a director to be sat on the sidelines for long and
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835:("New Argirópolis") metaphorically represents indigenous people's resistance to capture and interrogation by the Argentine state as well as the inevitable
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in ancient languages. Her parents opposed the school because of its elitist tradition which they felt reinforced class differences, but, because of the
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449:, the grand prize for which was the budget to produce a short film. Martel won the contest and, as a result, was able to produce her breakout film
576:), it is a doctor who arrives in a town and stays in a hotel where the owner lives with her teenage daughter, a student of a religious school. In
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188:, and many other international film festivals. Film scholar Paul Julian Smith wrote in 2015 that she is "arguably the most critically acclaimed
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Bahiana, Ana Maria (2014). "Female Filmmakers in Latin America: Unsung Pioneers, Fierce Explorers". In Kelly, Gabrielle; Robson, Cheryl (eds.).
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wrote " is not an easy bone to crack. Martel delivers her most abstract, most ungraspable, most mysterious creation yet." British newspaper
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magazine, her mother said that at the school Martel was a "radical and challenging" honor roll student who excelled in science.
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2147:"Lucrecia Martel, One of the Greatest Directors in the World Right Now, Gets a Well Earned Retrospective at Lincoln Center"
928:("Leagues", 2015), Martel explores the subject of academic exclusion in Argentina's indigenous communities. Named after an
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with a vengeance" and argues that "each of the films is set up as a dialectic between a desiring female subject and the
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While at IDAC, she decided to take the admission exam for Argentina's only state-sponsored film school at the time—the
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172:(born December 14, 1966) is an Argentine film director, screenwriter and producer whose feature films have frequented
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in 1957 about a toxic snowfall and alien invasion of Buenos Aires. In October 2008, Martel said of the project to
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Schroeder Rodríguez, Paul A. (2016). "The Rise of the Woman Director: Lucrecia Martel's Salta Trilogy (2001-8)".
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773:, a collective look at Martel’s works, including her short films and their impacts on audiences and film study.
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When she was 17 years old, she accompanied her father to Buenos Aires and attended a cinema projection of
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914:, the Italian high fashion company owned by Prada, the film is the second installment of the company's
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oppression, desire acts as an uncontrollable and multiple force which can overcome these structures."
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Martel's succeeding three feature films received further international acclaim: the adolescent drama
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taking top place, beating the better-known (and more accessible) works of the Mexican male triad of
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Shaw, Deborah (2017). "Intimacy and Distance – Domestic Servants in Latin American Women's Cinema:
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that ensues between the two nations despite that resistance. It takes its name from the 1850 book
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towards his mother's lover are fully unleashed in a fantasy he lives out through his drawings."
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3779:"'The greatest director in the world right now' begins residency at Centre for Film and Screen"
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At the end of that school year, Martel traveled to Buenos Aires to study advertising at the
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3723:"Zama review – Lucrecia Martel emerges from the wilderness with a strange, sensual wonder"
2377:"Zama review – Lucrecia Martel emerges from the wilderness with a strange, sensual wonder"
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882:("Mutate") premiered at an invitation-only event in Beverly Hills attended by stars like
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3865:"How Pedro Almódovar Pushed Argentina's Greatest Filmmaker to Make Her Best Movie Ever"
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3922:"All About Mujeres (Women) - Variety Bash at Hotel Daniel - 76th Venice Film Festival"
3308:"Argirópolis, la capital soñada por Sarmiento para unir Argentina, Uruguay y Paraguay"
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2180:. ReFocus. The international directors series. Edinburgh: Edinburgh University Press.
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Martel is openly lesbian. She came out to her family before the 2001 premiere of
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among Argentina, Uruguay, and Paraguay. The short film was commissioned by the
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In 2001, Martel was selected for the third edition of the Cannes Film Festival
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Upon graduating from secondary school, Martel intended to study physics at the
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and consolidated Martel's reputation as one of the finest emerging talents in
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auteurism and demanding features have earned her a hard-won reputation in the
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3808:"Arthouse Marvel? Lucrecia Martel reveals she was approached for Black Widow"
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In May 2008, Martel was reported as slated to direct the film adaptation of
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Christofoletti Barrenha, Natalia; Kratje, Julia; Merchant, Paul R. (2022).
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Martel at the presentation of the Audioteca at the National Library, 2015
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Hispanic and Lusophone Women Filmmakers: Theory, Practice and Difference
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to meet people who were studying film and began to produce short films.
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was exhibited in Argentina as part of a larger omnibus film called
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called her "one of the greatest directors in the world right now".
3694:"'Zama': Lucrecia Martel golpea con un trip colonial y filosófico"
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3893:"El cine LGBTI argentino cautiva en Berlín y el resto de Europa"
3752:"Oscars: Argentina Selects 'Zama' for Foreign-Language Category"
2778:"Lucrecia Martel: "La industria del cine se puso un poco torpe""
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Time". In Bernades, Horacio; Lerer, Diego; Wolf, Sergio (eds.).
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has called her body of work a "rare perfection". In April 2018,
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As of June 2018, she lives in the Buenos Aires neighborhood of
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Latin American Women Filmmakers: Production, Politics, Poetics
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Latin American Women Filmmakers: Production, Politics, Poetics
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New Argentine Cinema: Themes, Auteurs and Trends of Innovation
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among its long list of producers. It went on to screen at the
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Lucrecia Martel's Masterclass at the 33 Festival Internacional
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National School of Film Experimentation and Production (ENERC)
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National School of Film Experimentation and Production (ENERC)
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at the Cannes Film Festivals of 2004 and 2008, respectively.
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and shown in theaters as part of the larger anthology film
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Monteagudo, Luciano (2002). "Lucrecia Martel: Whispers at
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Eventually they left their careers and settled in Salta.
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Instituto Nacional de Cine y Artes Audiovisuales (INCAA)
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In 1999, Martel's screenplay for her debut feature film
3666:"Lucrecia Martel: A Director Who Confounds and Thrills"
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Martin, Deborah; Shaw, Deborah (2017). "Introduction".
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Argentine film director, screenwriter and film producer
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Paul A. Schroeder Rodríguez described the films as "
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Celluloid Ceiling: Women Directors Breaking Through
2467:. Buenos Aires: Ediciones Tatanka. pp. 69–78.
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2229:"La Cienaga Movie Review & Film Summary (2001)"
431:Another short film Martel directed as a student is
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2492:"Nueva mirada femenina para ver el cine argentino"
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559:, Martel's first three feature films make up what
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3031:. Oakland, CA: U of California. pp. 266–81.
767:In 2024 the Edinburgh University Press published
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3271:"[en primera persona] Lucrecia Martel"
2356:(in French). Publications de la Vie Catholique
1443:Denotes films that have not yet been released
1036:In May 2019, Martel directed Icelandic singer
982:and received widespread acclaim from critics.
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3141:". In Martin, Deborah; Shaw, Deborah (eds.).
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3269:Russo, Eduardo; Vallina, Carlos (May 2012).
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3029:Latin American Cinema: A Comparative History
1998:List of LGBT-related films directed by women
1988:List of female film and television directors
1407:
718:BBC's 100 Greatest Films of the 21st Century
678:received numerous international awards, and
3979:"Lucrecia MARTEL - Festival de Cannes 2023"
2420:
405:, Martel directed the animated short films
161:
4189:
4175:
4100:
4086:
3345:Journal of Latin American Cultural Studies
3213:(in Spanish). May 13, 2008. Archived from
3174:
2418:
2416:
2414:
2412:
2410:
2408:
2406:
2404:
2402:
2400:
31:
3833:
3691:
3636:de la Fuente, Anna Marie (May 18, 2017).
2863:"What is "Sundance Institute/NHK Award"?"
2833:
2258:"Family tensions fill risky 'La Cienaga'"
1605:
599:, 2001), then during sexual awakening in
507:of Argentine politician and army officer
4030:Teodoro, José (September–October 2017).
3663:
3235:
3205:"Lucrecia Martel filmará "El Eternauta""
2920:
2918:
2655:
2653:
2651:
2256:McGavin, Patrick Z. (October 19, 2001).
727:
4029:
3945:
3692:Brodersen, Diego (September 28, 2017).
3328:
3246:(in Spanish). Argentina. Archived from
3170:
3168:
3166:
3106:"The 21st Century's 100 greatest films"
3022:
3020:
2775:
2749:"Magazine For Fai (Serie de TV) (1995)"
2628:"No te la llevarás, maldito (C) (1989)"
2424:
2397:
2255:
2200:
1359:Part of the anthology documentary film
367:Film Art Institute of Avellaneda (IDAC)
321:(1984), a film written and directed by
4672:
3890:
3836:"Film-makers on film: Lucrecia Martel"
3834:Johnstone, Sheila (February 7, 2005).
3805:
3720:
3638:"Co-Productions on the Rise in Brazil"
3520:
3334:
3278:Tramas de la Comunicación y la Cultura
3111:British Broadcasting Corporation (BBC)
2888:
2836:"NHK, Sundance honor int'l filmmakers"
2659:
2523:
2500:(in Spanish). Argentina. July 27, 1997
2486:
2484:
2374:
2144:
2109:
1720:Best Film (Grand Coral - First Prize)
607:, 2004); and finally in adulthood, in
4170:
4081:
3973:
3971:
3919:
3891:Anarte, Enrique (February 24, 2020).
3750:Mango, Agustin (September 29, 2017).
3749:
3530:. 2011. Directed by Lucrecia Martel.
3433:
3335:Martin, Deborah (September 1, 2016).
3236:Makovsky, Pablo (December 13, 2009).
2915:
2834:Berkshire, Geoff (January 17, 2003).
2811:International Film Festival Rotterdam
2648:
2579:. London: Supernova. pp. 77–91.
2538:. Independent Filmmaker Project (IFP)
2519:
2517:
2515:
2454:
2452:
2450:
2345:
2314:
2223:
2178:ReFocus: the films of Lucrecia Martel
2078:
2034:
2032:
2030:
2028:
1954:
1934:
1862:
1835:
1812:Reykjavík International Film Festival
1807:
1780:
1762:
1740:Toulouse Latin America Film Festival
1682:
1657:
1632:
1284:
1167:
1046:, a theatrical concert production at
770:ReFocus: the Films of Lucrecia Martel
723:
618:
447:Argentine National Film Board (INCAA)
258:) (2004), the psychological thriller
196:outside Latin America" and that her "
92:Film director, screenwriter, producer
4705:21st-century Argentine screenwriters
4198:Venice Film Festival jury presidents
4009:New Queer Cinema: The Director's Cut
4006:
3946:Monfort, Flor (September 13, 2019).
3862:
3806:Pulver, Andrew (December 13, 2018).
3262:
3163:
3132:
3126:
3017:
2868:NHK (Japan Broadcasting Corporation)
2798:
2776:Coronel, Jorge (December 13, 2013).
2171:
2169:
2105:
2103:
2074:
2072:
2070:
2068:
2066:
2064:
805:
3534:. 2016. Directed by Edgardo Castro"
2601:"You Won't Get Her, Bastard (1989)"
2568:
2481:
976:Toronto International Film Festival
672:favoured on the festival circuit."
665:aesthetics identify her with other
513:Las dependencias (The Outbuildings)
13:
4000:
3968:
3856:
3827:
3657:
2989:"The Residence > The Programme"
2512:
2447:
2203:"El cine argentino está muy vital"
2025:
1687:Berlin International Film Festival
1014:Best Spanish Language Foreign Film
952:Venice International Film Festival
878:In July 2011, Martel's short film
759:Film scholar Deborah Martin wrote
591:values: first during childhood in
480:and "is really where the began".
14:
4766:
4755:University of Buenos Aires alumni
4045:
4040:. Film Society of Lincoln Center.
3341:: Rivers, Rumours and Resistance"
3305:
2953:"The Residence > Presentation"
2893:: Distanciation and Embodiment".
2385:. Guardian News and Media Limited
2166:
2138:
2100:
2061:
954:in August 2017. An adaptation of
3863:Kohn, Eric (November 21, 2017).
3407:"25 miradas, 200 minutos (2010)"
3238:"Historias de crímenes de clase"
2524:Dawson, Nick (August 19, 2009).
2425:Yemayel, Mónica (June 3, 2018).
2081:"Lucrecia Martel by Haden Guest"
2079:Guest, Haden (January 1, 2009).
1753:French Critics' Discovery Award
1598:
1580:
1567:
1517:
1502:
1487:
1472:
1340:
1322:
1298:Part of 2010 the anthology film
1279:
1252:Part of the 1995 anthology film
1231:
1213:
1195:
1180:
1162:
1095:In February 2016, while editing
1053:
941:
522:
3939:
3913:
3884:
3799:
3771:
3743:
3721:Brooks, Xan (August 31, 2017).
3714:
3685:
3664:Hoberman, J. (April 13, 2018).
3629:
3601:
3573:
3546:
3539:The Museum of Modern Art (MoMA)
3514:
3487:
3455:
3427:
3399:
3371:
3299:
3229:
3197:
3098:
3072:
3045:
2981:
2945:
2882:
2855:
2827:
2769:
2741:
2709:
2682:
2620:
2593:
2550:
2375:Brooks, Xan (August 31, 2017).
2368:
2339:
2308:
2277:
2201:Poblete, Joel (July 11, 2006).
1050:, an arts center in Manhattan.
792:Natalia Christofoletti Barrenha
396:
268:) (2008), and the period drama
4715:Argentine women film producers
4710:Argentine women film directors
3920:Bauer, Cat (August 29, 2019).
3379:"Nueva Argirópolis (C) (2010)"
2249:
2217:
2194:
2145:Powers, John (April 9, 2018).
2010:
1911:Seville European Film Festival
1767:MTV Movie Awards Latin America
1121:
845:, written by former Argentine
1:
3357:10.1080/13569325.2016.1167018
2895:The cinema of Lucrecia Martel
2662:The cinema of Lucrecia Martel
2346:Murat, Pierre (May 2, 2009).
2003:
1539:
946:Martel's fourth feature film
863:Argentine Ministry of Culture
277:
4700:Argentine LGBT screenwriters
4032:"Interview: Lucrecia Martel"
2725:(in Spanish). Archived from
564:them, they do not react. In
483:Martel says that "thanks to
344:National University of Salta
333:
218:Her 2001 debut feature film
7:
2899:Manchester University Press
2666:Manchester University Press
2119:: What's Outside the Frame"
2045:Manchester University Press
1981:
1771:Favorite Movie - Argentina
1429:
930:archaic unit of measurement
699:Alejandro González Iñárritu
552:, which premiered in 2004.
153:Julieta Laso (2016–present)
10:
4771:
3139:El niño pez/The Fish Child
3053:"La Ciénaga (2001) Awards"
1993:List of lesbian filmmakers
1192:No te la llevarás, maldito
1187:You Won't Get Her, Bastard
1109:Fernández Fierro Orchestra
851:Domingo Faustino Sarmiento
422:No te la llevarás, maldito
75:University of Buenos Aires
4745:Argentine lesbian artists
4740:Argentine lesbian writers
4512:
4371:
4204:
4116:
4015:. pp. 177, 179–181.
2889:Martin, Deborah (2016). "
1909:
1873:
1865:
1810:
1793:
1739:
1714:
1685:
1668:
1643:
1624:
1621:
1618:
1615:
1612:
1585:
1572:
1557:
1552:
1549:
1546:
1522:
1507:
1492:
1477:
1462:
1457:
1454:
1451:
1412:
1394:
1387:Festival trailer for the
1373:
1345:
1327:
1266:
1236:
1218:
1200:
1149:
1144:
1141:
1138:
1135:
1126:
1075:2006 Cannes Film Festival
867:Bicentennial celebrations
831:Martel's 2010 short film
790:. In the introduction by
391:
289:school's prominent alumni
157:
149:
104:
96:
88:
67:
42:
30:
23:
4695:Argentine film producers
4690:Argentine film directors
4241:Vinicio Marinucci (1947)
3463:"Miu Miu Women's Tales:
2660:Martin, Deborah (2016).
2124:The Criterion Collection
1871:Best Film (Grand Coral)
1641:Best Short Film (Coral)
1073:She was a member of the
1019:In May 2018, Martel was
818:Héctor Germán Oesterheld
413:("24th Floor") in 1989.
4720:Argentine screenwriters
3983:www.festival-cannes.com
3948:"La flor de mi secreto"
3784:University of Cambridge
3699:Rolling Stone Argentina
2717:"Historias Breves 2017"
2427:"El ojo extraterrestre"
2209:. Chile. Archived from
1944:Best Iberoamerican Film
1301:25 miradas, 200 minutos
872:25 miradas, 200 minutos
849:and political activist
686:were nominated for the
629:wrote, " debut feature
409:("The 56") in 1988 and
4403:Michelangelo Antonioni
4007:Rich, B. Ruby (2013).
3757:The Hollywood Reporter
3609:"El aula vacía (2015)"
2786:(in Spanish). Paraguay
1662:Sundance Film Festival
1606:Awards and nominations
1021:filmmaker-in-residence
980:New York Film Festival
960:novel of the same name
837:cultural hybridization
822:Francisco Solano López
756:patriarchal reality."
733:
438:Next, Martel directed
228:), about an indulgent
4735:Lesbian screenwriters
4322:Filippo Sacchi (1961)
4013:Duke University Press
1963:Films After Tomorrow
1306:25 Looks, 200 Minutes
743:collective liberation
731:
416:As a film student at
388:she was self-taught.
3532:La Noche (The Night)
3250:on February 23, 2012
3179:. London; New York:
3145:. London; New York:
2348:"La Femme sans tête"
2227:(October 19, 2001).
2207:Mabuse Film Magazine
2113:(January 26, 2015).
1867:Havana Film Festival
1840:Cannes Film Festival
1785:Cannes Film Festival
1716:Havana Film Festival
1637:Havana Film Festival
1086:Helena Bonham Carter
956:Antonio di Benedetto
509:Juan Manuel de Rosas
478:New Argentine Cinema
457:Havana Film Festival
384:Pink Floyd: The Wall
235:New Argentine Cinema
192:in Spanish-language
4730:LGBT film producers
4725:LGBT film directors
4592:Bernardo Bertolucci
4415:Alain Robbe-Grillet
4397:Bernardo Bertolucci
4379:Suso Cecchi d'Amico
3522:Cozarinsky, Edgardo
3467:by Lucrecia Martel"
3436:"'Muta' by Miu Miu"
3337:"Lucrecia Martel's
3280:(in Spanish) (70).
3149:. pp. 123–48.
3135:La mujer sin cabeza
3086:on December 6, 2009
2815:. September 4, 2015
2320:"Blessed Restraint"
2285:"La Cienaga (2001)"
2237:. Ebert Digital LLC
2213:on August 27, 2007.
1925:Special Jury Award
1577:Encarnación Ezcurra
1436:
1367:The Empty Classroom
1271:The City that Flees
1132:
1060:María Luisa Bemberg
609:La mujer sin cabeza
582:La mujer sin cabeza
501:Encarnación Ezcurra
355:Catholic University
323:María Luisa Bemberg
266:La mujer sin cabeza
4622:Guillermo del Toro
4138:The Headless Woman
4108:Films directed by
3671:The New York Times
3472:Harper's Bazaar UK
3183:. pp. 11–23.
3005:on August 26, 2018
2998:Festival de Cannes
2962:Festival de Cannes
2931:Festival de Cannes
2729:on August 24, 2018
2535:Filmmaker Magazine
2528:The Headless Woman
2526:"Lucrecia Martel,
2325:The New York Times
2318:(April 10, 2005).
2047:. pp. 12–24.
1915:Golden Giraldillo
1851:The Headless Woman
1704:Alfred Bauer Prize
1498:The Headless Woman
1434:
1276:La ciudad que huye
1131:
1078:Feature Films Jury
968:Gael García Bernal
924:In her short film
910:. Commissioned by
761:a full-length book
734:
724:Academic attention
714:The Headless Woman
707:Guillermo del Toro
684:The Headless Woman
639:Alfred Bauer Award
619:Critical reception
613:The Headless Woman
578:The Headless Woman
557:The Headless Woman
533:Sundance Institute
503:(1998), about the
420:, Martel directed
340:Balseiro Institute
330:with " for years.
261:The Headless Woman
131:The Headless Woman
4750:People from Salta
4667:
4666:
4598:Alexandre Desplat
4574:Quentin Tarantino
4550:Catherine Deneuve
4409:Krzysztof Zanussi
4164:
4163:
3441:Los Angeles Times
3339:Nueva Argirópolis
3114:. August 23, 2016
2926:"Lucrecia MARTEL"
2806:"Lucrecia Martel"
2561:. Film review of
2187:978-1-4744-8522-7
1979:
1978:
1603:
1602:
1537:
1536:
1447:
1446:
1427:
1426:
1294:Nueva Argirópolis
1090:Samuel L. Jackson
1058:Martel has cited
950:premiered at the
921:to get on board.
806:Post-trilogy work
788:Nueva Argirópolis
167:
166:
97:Years active
53:December 14, 1966
4762:
4658:Isabelle Huppert
4580:Darren Aronofsky
4445:Gian Luigi Rondi
4191:
4184:
4177:
4168:
4167:
4102:
4095:
4088:
4079:
4078:
4069:
4065:Cinenacional.com
4041:
4026:
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3888:
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3879:
3877:
3860:
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3851:
3849:
3831:
3825:
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3822:
3820:
3803:
3797:
3796:
3794:
3792:
3775:
3769:
3768:
3766:
3764:
3747:
3741:
3740:
3738:
3736:
3718:
3712:
3711:
3709:
3707:
3689:
3683:
3682:
3680:
3678:
3661:
3655:
3654:
3652:
3650:
3633:
3627:
3626:
3624:
3622:
3605:
3599:
3598:
3596:
3594:
3589:. Manchester, UK
3577:
3571:
3570:
3568:
3566:
3554:"Leagues (2015)"
3550:
3544:
3543:
3518:
3512:
3511:
3509:
3507:
3491:
3485:
3484:
3482:
3480:
3459:
3453:
3452:
3450:
3448:
3434:Steinberg, Dan.
3431:
3425:
3424:
3422:
3420:
3403:
3397:
3396:
3394:
3392:
3375:
3369:
3368:
3332:
3326:
3325:
3323:
3321:
3303:
3297:
3296:
3294:
3292:
3275:
3266:
3260:
3259:
3257:
3255:
3233:
3227:
3226:
3224:
3222:
3217:on July 17, 2018
3201:
3195:
3194:
3172:
3161:
3160:
3130:
3124:
3123:
3121:
3119:
3102:
3096:
3095:
3093:
3091:
3082:. Archived from
3076:
3070:
3069:
3067:
3065:
3049:
3043:
3042:
3024:
3015:
3014:
3012:
3010:
3001:. Archived from
2985:
2979:
2978:
2976:
2974:
2969:on June 18, 2017
2965:. Archived from
2949:
2943:
2942:
2940:
2938:
2922:
2913:
2912:
2886:
2880:
2879:
2877:
2875:
2859:
2853:
2852:
2850:
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2831:
2825:
2824:
2822:
2820:
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2796:
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2793:
2791:
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2766:
2764:
2762:
2745:
2739:
2738:
2736:
2734:
2713:
2707:
2706:
2704:
2702:
2690:"La otra (1990)"
2686:
2680:
2679:
2657:
2646:
2645:
2643:
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2617:
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2510:
2509:
2507:
2505:
2488:
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2445:
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2442:
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2395:
2394:
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2334:
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2281:
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2215:
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2198:
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2173:
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2159:
2142:
2136:
2135:
2133:
2131:
2107:
2098:
2097:
2095:
2093:
2076:
2059:
2058:
2036:
2023:
2014:
1959:Locarno Festival
1826:Special Mention
1610:
1609:
1594:The Outbuildings
1590:Las dependencias
1563:Magazine For Fai
1544:
1543:
1449:
1448:
1437:
1433:
1422:Camarera de piso
1255:Historias breves
1133:
1130:
888:Hailee Steinfeld
833:Nueva Agirópolis
800:Paul R. Merchant
712:In August 2016,
490:Magazine For Fai
473:Historias breves
468:Historias breves
426:Oedipal feelings
401:While attending
379:autodidactically
325:and produced by
205:festival circuit
202:world art cinema
107:
56:
52:
50:
35:
21:
20:
4770:
4769:
4765:
4764:
4763:
4761:
4760:
4759:
4670:
4669:
4668:
4663:
4652:Damien Chazelle
4628:Lucrecia Martel
4532:Mario Monicelli
4508:
4367:
4356:Alberto Moravia
4350:Giorgio Bassani
4332:Arturo Lanocita
4275:Eugenio Montale
4200:
4195:
4165:
4160:
4112:
4110:Lucrecia Martel
4106:
4067:
4061:Lucrecia Martel
4052:Lucrecia Martel
4048:
4023:
4003:
4001:Further reading
3998:
3997:
3987:
3985:
3977:
3976:
3969:
3959:
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3930:
3928:
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3734:
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3551:
3547:
3519:
3515:
3505:
3503:
3493:
3492:
3488:
3478:
3476:
3475:. July 22, 2011
3461:
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2017:Lucrecia Martel
2015:
2011:
2006:
1984:
1608:
1542:
1432:
1289:New Argirópolis
1142:Original title
1129:
1124:
1070:as influences.
1068:Pedro Almodóvar
1056:
964:Pedro Almodóvar
944:
865:as part of the
808:
726:
621:
525:
399:
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359:Catholic Action
336:
280:
243:economic crises
170:Lucrecia Martel
145:
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68:Alma mater
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4281:Ignazio Silone
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4245:Luigi Chiarini
4242:
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4224:Giuseppe Volpi
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1888:Best Director
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1064:Ingmar Bergman
1055:
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1025:Marvel Studios
943:
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908:Marilyn Manson
892:Ashley Tisdale
807:
804:
725:
722:
716:ranked #89 on
703:Alfonso Cuarón
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555:Together with
548:feature film,
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505:eponymous wife
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4130:The Holy Girl
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3787:. May 4, 2018
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3495:"Muta (2011)"
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942:Recent career
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917:Women's Tales
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4485:Jane Campion
4427:Sergio Leone
4391:Marcel Carné
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100:1988–present
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4680:1966 births
4562:Wim Wenders
4556:Zhang Yimou
4467:David Lynch
4455:Jiří Menzel
4421:Irene Papas
4287:Mario Gromo
4269:Mario Gromo
4263:Mario Gromo
4257:Mario Gromo
4251:Mario Gromo
3181:I.B. Tauris
3147:I.B. Tauris
3090:December 7,
2563:La Ciénaga,
2389:October 30,
2360:October 30,
2331:October 30,
2300:October 30,
2269:October 30,
2241:October 30,
2130:October 30,
1939:Goya Awards
1743:Grand Prix
1692:Golden Bear
1228:Besos Rojos
1122:Filmography
1030:Black Widow
1010:Goya Awards
859:confederacy
857:democratic
842:Argirópolis
589:patriarchal
440:Besos rojos
62:, Argentina
4674:Categories
4610:Sam Mendes
4461:Peter Weir
4439:Gore Vidal
4299:René Clair
4122:La Ciénaga
3988:January 6,
3876:August 27,
3791:August 29,
3763:August 26,
3706:August 26,
3677:August 27,
3649:August 27,
3559:Letterboxd
3506:August 29,
3479:August 29,
3447:August 29,
3320:August 26,
3243:La Capital
3118:August 27,
3064:August 27,
3009:August 26,
2973:August 26,
2937:August 26,
2891:La Ciénaga
2874:August 26,
2733:August 23,
2695:Letterboxd
2606:Letterboxd
2158:August 29,
2117:La Ciénaga
2004:References
1948:Nominated
1918:Nominated
1881:Nominated
1856:Nominated
1845:Palme d'Or
1819:Nominated
1801:Nominated
1790:Palme d'Or
1774:Nominated
1696:Nominated
1671:La Ciénaga
1666:NHK Award
1646:Rey muerto
1558:1995–1999
1540:Television
1468:La ciénaga
1247:Rey muerto
1223:Red Kisses
1172:24th Floor
1104:La Ciénaga
1043:Cornucopia
1027:to direct
896:Cat Deeley
695:La Ciénaga
688:Palme d'Or
676:La Ciénaga
637:, won the
631:La Ciénaga
593:La Ciénaga
566:La Ciénaga
529:La Ciénaga
485:Rey muerto
463:Rey muerto
452:Rey muerto
278:Early life
221:La Ciénaga
194:art cinema
115:La ciénaga
49:1966-12-14
4372:1980–2000
4205:1935–1968
3960:April 13,
3953:Página/12
3931:April 13,
3905:April 13,
3870:IndieWire
3365:157236618
3286:2314-274X
2783:ABC Color
2558:Telegraph
2497:La Nación
2432:Gatopardo
1619:Category
1241:Dead King
1205:The Other
987:Gatopardo
847:President
754:hegemonic
663:art movie
625:Filmmaker
597:The Swamp
561:Gatopardo
496:ABC Color
334:Education
301:Gatopardo
239:political
230:bourgeois
226:The Swamp
162:full list
4344:Carlo Bo
4154:Chocobar
3735:June 29,
3621:June 29,
3593:June 29,
3581:"Leguas"
3565:June 29,
3419:June 29,
3391:June 29,
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2439:June 29,
2353:Télérama
2295:Fandango
2092:June 29,
1982:See also
1968:Chocobar
1528:Chocobar
1430:Features
1389:Viennale
1319:Pescados
1048:The Shed
958:'s 1956
784:Pescados
635:Sundance
627:magazine
531:won the
274:(2017).
4568:Ang Lee
4526:Gong Li
4072:archive
3643:Variety
2841:Variety
1625:Result
1350:Leagues
1210:El Otro
1177:Piso 24
912:Miu Miu
855:utopian
775:ReFocus
750:Oedipal
670:auteurs
433:La otra
411:Piso 24
348:Tucumán
186:Toronto
150:Partner
4660:(2024)
4654:(2023)
4648:(2022)
4642:(2021)
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4149:(2017)
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3848:May 5,
3363:
3284:
3210:Perfil
3187:
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2897:. UK:
2847:May 6,
2813:(IFFR)
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2583:
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2043:. UK:
1628:Notes
1616:Award
1553:Notes
1550:Title
1458:Notes
1455:Title
1355:Leguas
1332:Mutate
1314:Fishes
1154:The 56
1145:Notes
1127:Shorts
1088:, and
1066:, and
970:, and
926:Leguas
906:, and
798:, and
786:, and
705:, and
651:Cannes
643:Berlin
511:, and
392:Career
318:Camila
190:auteur
182:Berlin
178:Venice
174:Cannes
158:Awards
142:(2017)
134:(2008)
126:(2004)
118:(2001)
4157:(TBA)
3361:S2CID
3274:(PDF)
2152:Vogue
1955:2020
1935:2018
1863:2017
1836:2008
1808:2005
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1633:1995
1622:Film
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1201:1990
1168:1989
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1150:1988
1136:Year
1038:Björk
1006:Oscar
418:ENERC
407:El 56
213:Vogue
60:Salta
4146:Zama
4056:IMDb
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