During the 2020 lockdown, Lucrecia Martel returns to her home in Salta, Argentina’s most conservative region. Here she follows Julieta Laso who, like a muse, introduces her to a group of female artists and defiant people who exchange glances and opinions around a fire. Perfectly attuned to a body of work that constructs stories from an amalgam of people and places and, four years after the beautiful Zama, Terminal norte marks the return to the screen of Argentina’s greatest filmmaker. Once again, there is a sense of being on the periphery of the world in a way that is simultaneously real, symbolic and political. Now working in a documentary format, Martel immerses herself and gets lost in Julieta Laso’s hoarse, seductive voice. And then, in a progression that has now become familiar to us, the “I” of the protagonist opens up to encounter a plethora of voices and bodies which the camera never tires of following. The result is a gripping tribute to a community that, temporary though it may be, serves as a magnificent antidote to the pandemic.

Terminal.Norte.2021.1080p.WEB-DL.AAC2.0.H.264.mkv

General
Container:  	Matroska
Runtime: 	36 min 39 s
Size: 	1.30 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	4 933 kb/s
BPP: 	0.095
Audio
#1:  	Spanish 2.0ch AAC LC @ 125 kb/s

https://nitro.download/view/596422A9E59E8DB/Terminal.Norte.2021.1080p.WEB-DL.AAC2.0.H.264.mkv

Language(s):Spanish
Subtitles:English

The post Lucrecia Martel – Terminal Norte (2021) first appeared on Cinema of the World.

Synopsis
The release of Lucrecia Martel’s La Ciénaga heralded the arrival of an astonishingly vital and original voice in Argentine cinema. With a radical and disturbing take on narrative, beautiful cinematography, and a highly sophisticated use of on- and offscreen sound, Martel turns her tale of a dissolute bourgeois extended family, whiling away the hours of one sweaty, sticky summer, into a cinematic marvel. This visceral take on class, nature, sexuality, and the ways that political turmoil and social stagnation can manifest in human relationships is a drama of extraordinary tactility, and one of the great contemporary film debuts.
Criterion.com

http://nitroflare.com/view/41CBBB4DAB90C44/The_Swamp_%28Lucrecia_Martel%2C_2001%29.mkv
http://nitroflare.com/view/EB5849E2C3F4A1D/The_Swamp_%28Lucrecia_Martel%2C_2001%29.English.srt

Language(s):Spanish
Subtitles:English

The post Lucrecia Martel – La Ciénaga AKA The Swamp (2001) first appeared on Cinema of the World.

Based on the novel by Antonio Di Benedetto written in 1956, on Don Diego de Zama, a Spanish officer of the seventeenth century settled in Asunción, who awaits his transfer to Buenos Aires.

http://nitroflare.com/view/F8370617C0738EF/Zama.2017.720p.mkv

Language(s):Spanish
Subtitles:English, Portuguese

The post Lucrecia Martel – Zama (2017) first appeared on Cinema of the World.

Based on the novel by Antonio Di Benedetto written in 1956, on Don Diego de Zama, a Spanish officer of the seventeenth century settled in Asunción, who awaits his transfer to Buenos Aires.

http://nitroflare.com/view/DF53A41833A9341/Zama_-_Lucrecia_Martel__2017_.mkv

Language(s):Spanish
Subtitles:None

The post Lucrecia Martel – Zama (2017) first appeared on Cinema of the World.

Quote:
“I feel a little … I don’t feel good.” So says Veronica, the middle-aged upper-middle-class Argentinean woman who suffers a nasty bump on the noggin early on in Lucrecia Martel’s The Headless Woman (La Mujer Sin Cabeza) and spends the rest of the movie in a semiconscious stupor, a stranger in her own body. Watching Martel’s film, which premiered midway through the 61st Cannes Film Festival, it occurred to me that Veronica’s woozy disorientation was a pretty apt metaphor for Cannes itself, where one can reliably emerge from seeing a near masterpiece only to discover that everyone — or at least the influential industry trade newspapers — has declared the very same movie une catastrophe! That was certainly the case with The Headless Woman, which was the first (though hardly the last) of this year’s competition entries to be greeted with lusty boos at the end of its press screening, putting it in such esteemed past Cannes company as Michelangelo Antonioni’s L’Avventura and David Cronenberg’s Crash. (In one of those rare alliances of Franco and Anglo sentiments, Martel’s film spent most of Cannes scraping bottom in the daily critics’ polls conducted by the British trade paper Screen International and its Gallic counterpart, Le Film Français.)

Martel’s movie — one of the strongest of a very strong festival — opens on a windy stretch of road, where Veronica runs over something with her car, bangs her head on the steering wheel, then drives on a bit farther before pulling over and staggering out into the first drops of a massive rainstorm. From there on, The Headless Woman exists in a concussive state, showing us the world through its protagonist’s highly unreliable eyes as she returns to her everyday routine, not quite sure of where she is or what she’s doing there, and beset by the nagging sensation that what she hit on the road may not have been canine after all. Like Martel’s first two features, La Ciénaga and The Holy Girl, this one is another merciless portrait of self-satisfied stagnation among the privileged elite; the movie’s running joke (admittedly a mordant one) is that Veronica’s family and friends keep assuring her that everything is perfectly fine, even as it becomes obvious that it most certainly is not.

Shooting for the first time in wide screen, Martel effects a sense of spatial and temporal dislocation that is close to the phantasmagoric subconsciousness of a David Lynch or Luis Buñuel. As she films her saucer-eyed, peroxide-blond leading lady (Maria Onetto) from a distance, in and out of focus, reflected in glass, we too begin to feel that we aren’t quite ourselves, that we are sharing in Veronica’s dark, private, waking dream. Most critics, though, were too busy complaining about being confused by the film to realize that this was exactly the point.

http://nitroflare.com/view/E060CBEA78E2348/Lucrecia_Martel_-_%282008%29_The_Headless_Woman.mkv

Language(s):Spanish
Subtitles:Spanish, English, Portuguese, French, Russian

The post Lucrecia Martel – La mujer sin cabeza AKA The Headless Woman (2008) first appeared on Cinema of the World.

Quote:
With her award-winning feature-film debut, La Ciénaga (The Swamp) (2001), writer-director Lucrecia Martel emerged as one of the brightest figures of the new Argentinean cinema. In her follow up, the 2004 Cannes Film Festival Competition entry, LA NIÑA SANTA (THE HOLY GIRL), Martel intimately explores the burgeoning sexuality and religious fervor of two teenage girls, Amalia (MARIA ALCHÉ) and her best friend, Josefina (JULIETA ZYLBERBERG). Artfully piecing together a mosaic of nuanced details, fragments of sounds, and small moments, Martel creates a potent and specific portrait of adolescent life. In the town of La Ciénaga, Amalia lives with her attractive, divorced mother, Helena (MERCEDES MORÁN), and her uncle, Freddy (ALEJANDRO URDAPILLETA), in the crumbling, run-down Hotel Termas, which her family owns and runs. After choir rehearsals the girls gather in the parish church for further instruction in faith and vocation. What does God want from me? How do I discern between the temptation of the Devil and the calling of God? In between the teachings, the girls gossip and whisper secretively. The lives of the girls and their families intersect with those of a group of visiting orhinolaryngologists (ear, nose and throat specialists) staying at the hotel for a medical convention, including the married, middle-aged Dr. Jano (CARLOS BELLOSO).One day, a crowd of people gather in the street to watch a man play an unusual, exotic instrument: a theremin. Amalia is in the crowd when a man standing behind her presses himself sexually against her. Later, in the hotel, she discovers that this man is Dr. Jano, one of the doctors attending the conference. Amalia finds herself drawn to the Doctor and for days she spies on him. Dr. Jano never notices her presence, but he does notice her mother, Helena. Helena greatly enjoys the attention from this man, but she has little hope as she knows he is married and has a family. Days afterward Amalia confides in Josefina what occurred in the street with Dr. Jano and of her secret mission: to save one man from sin. Dr. Jano becomes caught up in Amalia’s web of good intentions and the respected doctor finds his world is on the brink of collapse when her adolescent obsession sets off a chain reaction of social catastrophe. Understanding the temptation of good – and the evil it causes – LA NIÑA SANTA delicately explores themes of sin, frustration and desire.

http://www.nitroflare.com/view/8CDA8A60F514FED/Lucrecia_Martel_-_%282004%29_The_Holy_Girl.mkv

Language(s):Spanish
Subtitles:English

The post Lucrecia Martel – La niña santa AKA The Holy Girl (2004) first appeared on Cinema of the World.