The Headless Woman

The Doomed Generation

TAXIDERMIA Image 36
Here Media/Regent Releasing

The past decade marked a remarkable transformation in the way we experience movies. It was the decade of the iPod after all. In an attempt to compete with the convenience of home entertainment systems and combat piracy, Hollywood once again embraced the 3-D format. Meanwhile, independent distributors utilized video on demand to reach a broader audience while cutting distribution costs.

Gone is the Miramax business model, and along with it boutique distribution arms such as Fine Line Features, Fox Atomic, Paramount Classics, Paramount Vantage, Picturehouse and Warner Independent Pictures. Miramax itself, once untouchable, is now on life-support. Several smaller outfits that did not jump on the VoD bandwagon also failed to make it: Cowboy Pictures, New Yorker Films, the Shooting Gallery, THINKFilm and Wellspring.

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A Woman Under the Voidance

MOVIE REVIEW
The Headless Woman (2008)

21_María_Onetto
Strand Releasing

An existential mystery about an amnesiac woman reorienting herself back to her world after sustaining a head trauma in a car accident, Argentine director Lucrecia Martel’s “The Headless Woman” challenges our perceptions of class, gender, profession, memory and the interpersonal relationships that collectively form our identities. Mesmerizingly sweeping and hazy, the film follows Verónica (María Onetto) as she attempts to fake her way back into her marriage, job and daily routines as if everything is just fine, thank you. We gather clues to her former self by watching her passively allowing everyone in her life to take the lead in every interaction. But while she seems to be successfully fooling her family, friends and colleagues, Verónica loses her grip on reality when she comes to believe that she has accidentally killed someone in the very car accident that erased her memory.

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