The Anxiety of Identity: The Films of Lucrecia Martel

April 20–May 10, 2018

The Argentine director pays a visit to BAMPFA for this retrospective of her atmospheric, compelling films.

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  • Zama

  • La ciénaga

  • The Headless Woman

  • Upcoming
    Films
  • Upcoming
    Events
  • Selected
    Objects
  • Past
    Films
  • Past
    Events

Past Films

  • La ciénaga

    Lucrecia Martel
    Argentina, 2001
    Friday, April 20 7 PM
    Introduction by Natalia Brizuela

    Two extended families suffer through a heat wave in Martel’s award-winning portrayal of social inertia, class, and racial dynamics. “Every shot is dense with life, yet the movie is highly focused, a small masterpiece” (Meredith Brody, Chicago Reader).

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  • Zama

    Lucrecia Martel
    Argentina, 2017
    Sunday, April 22 5 PM
    Lucrecia Martel and B. Ruby Rich in Conversation

    Martel’s latest feature is a glimpse into the colonial abyss, adapted from a famed Argentine novel about a Spanish officer in a remote proto-Paraguayan outpost. “Perplexing and thrilling in equal measure” (Variety).

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  • The Headless Woman

    Lucrecia Martel
    Argentina, 2008
    Sunday, April 22 8:30 PM
    Lucrecia Martel in Person (April 22 screening only)

    A woman involved in a potentially tragic hit-and-run accident tries to ignore what happened in Martel’s disorienting, critically acclaimed suspense thriller. “If Hitchcock and Antonioni ever had an interest in class guilt, you’d have Martel” (Wesley Morris).

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  • The Holy Girl

    Lucrecia Martel
    Argentina, 2004

    BAMPFA Student Committee Pick!

    Saturday, May 5 7:30 PM

    An adolescent girl tries to save a man from sin in Martel’s hallucinatory look at religious devotion, sexual awakening, Lolita obsessions, and Catholic repressions in small-town Argentina. “A film that defies categorization, but I’m tempted to call it a miracle” (A. O. Scott).

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  • The Headless Woman

    Lucrecia Martel
    Argentina, 2008
    Thursday, May 10 7 PM
    Lucrecia Martel in Person (April 22 screening only)

    A woman involved in a potentially tragic hit-and-run accident tries to ignore what happened in Martel’s disorienting, critically acclaimed suspense thriller. “If Hitchcock and Antonioni ever had an interest in class guilt, you’d have Martel” (Wesley Morris).

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