La Ciénaga

The previous comment - a scathing review - reads as an effective degradation of Martel's "La Ciénaga" to a wanna-be artsy movie that forgot to include a message to convey or even a story to tell. First of all: this is far from being the truth. Second: nonetheless most publics will probably take that impression away from seeing "La Ciénaga" if they do not know beforehand what to expect. That is neither the fault of the audience nor that of Lucrecia Martel's excellent movie.

Like other excellent directors from around the world, for instance her compatriot Daniel Burman recounting stories from Buenos Aires' Jewish community - Lucrecia Martel has (in my opinion wisely) decided that she will be at her best when telling about the world she knows best: the particular social setting of the Northwest Argentinean provincial capital Salta. A beautiful city, in a province ruled by a populist strongman, with mixed population, urban middle class and a upper crust of provincial landowner aristocracy, that is resistantly moving into a post-feudal age. The pace of life is slow - and comes to a near standstill during the long summer, where people of means escape into summer villages with a slightly preferable micro-climate.

Lucrecia Martel's movie has a "documentary" air about it - but it can only appear fake if one is angry at having paid eight bucks to see a film one does not understand because its appeal is entirely "local".

Now, even if you do not have a first hand experience of Argentinean society, let alone that particular subset that the one of Salta is and neither understand Spanish in its Argentinean version or even more the dialect of the Northwest (not only "ll" and "y" but also "rr"'s are pronounced "sh" as in Washington) you may enjoy the movie if you know the little I indicated above. And believe me: Salta is like that! Departing from this, you may in any case enjoy the excellent photography that perfectly fits and reverberates the pace of slouching decadence, and rejoice in the sometimes not so subtle symbolism of the dysfunctional and untimely nature of the beings populating the movie. The actors do an outstanding job at portraying characters with all the traits you could expect to encounter in Salta's summer mountain escapes. You can take my word for it: these people actually exist!

Is this artsy? While the location selected is one that stands for a niche in a niche market of current cinematography - Martel's choice is highly commendable: for it is this courageous choice that enables here to tell stories that she unlike any other can bring to the screen and apply to them all the skills of the craft she and her team have mastered. If you accept that you will enjoy a true gem of contemporary cinema. If you reject her choice, then at least waste a moment of your time that you had set out to complain about those ridiculously artsy movie directors and consider why Woody Allen may have decided to make one NYC movie after the other. And how much the Coen Brothers' works profit from their choice of more than peculiar regional settings.

My recommendation: take the time, open your mind, suppress the expectations and watch "La Ciénaga". Remember: if you don't like it, it's not your fault - but neither does it have to be Lucrecia Martel's.

Maybe you have to be Argentinian to really appreciate this film. In the stultifying heat of a hot, humid summer, a rich (though decaying) family sit around drinking, playing with guns, exhibiting casual racism and watching television reports of the appearance of the Virgin Mary. No-one does anything useful and very little in the way of plot occurs; indeed, even when things do happen, the film refuses to treat them as plot (for example, a late scene, threatening tragedy, is never followed up). It's a pretty powerful metaphor for national decline, and if you strain, you can detect faint hints of black humour, but even so, 'La Cienaga' is pretty devoid of conventional entertainment. The acting convinces, so does the dialogue; but there's not that much to keep you watching.

excerpt, more at my location - La Cienaga, or The Swamp, is the debut film from Argentine filmmaker Lucrecia Martel. Originally released in 2001, the film announced the arrival of a unique new voice within international cinema. Finally granted a DVD release in the UK, it shows that the director of The Holy Girl and The Headless Woman had emerged with her distinctive and uncompromising vision of cinema already fully formed.

Beneath the surface banality of La Cienaga lies a resonant and troubling picture, the work of a filmmaker with a considered and singular artistic vision. Even if Martel's particular vision is likely to repel as many as it attracts, her film possesses a lingering, haunting power. Not especially enjoyable, but undeniably affecting.

This film meant a leap in Lucrecia Martel's career but also a blizzard of fresh air for Argentine cinema, which had become stiff and too ideological during the '90s. It has an interesting script, that keeps you absorbed by the tense climate and insinuated secrets at the home (maybe the main element of the movie), without great dramatic actions. However the major virtue of this film is in acting, sound and cinematography. The diverse and witty cast offers outstanding performances. The sound design is a solid example of what cinema can achieve through sound. While cinematography perfectly shapes the image according to each dramatic situation. In addition, the underlying themes, such as social differences and intrafamily secrets, are approached with admirable subtlety and depth.

Lucrecia Martel, the talented director of "La Cienaga", creates a dark picture with this film that takes place in the northern part of Argentina that borders Bolivia. Having seen "La nina santa" prior to watching this movie, there is a sort of connection between the two, as the director explores the darker side of human beings, which seems to consume her.

"La Cienaga" is a film that mirrored the times when it was made. The last part of the 21th century was devastating for Argentina as most people were affected by the rapid changes in the economy that befell the land. As the film starts, we suffer from disorientation. We are taken to Mecha's house in the country where a group of people are seen sitting around the swimming pool. No one says anything to one another; it's as though the oppressing heat has numbed everyone. The only thing left to do is to drink to oblivion.

Mecha appears to be inebriated when she tripped and fell. The wine glass cuts her in the chest. Blood is seen all over the place. Then, as though by magic, we are taken to meet Tali and her family, who appear to live in town. There is a sharp contrast between the two households. Where Mecha's house is run down, it still shows signs of a richer past. Tali's home, on the other hand, is a much humbler place.

Ms. Martel makes a subtle comment on what she shows us. There are a lot of things that are wrong in Mecha's house, like the lesbianism shown between one of her daughters and the maid. Incest is also hinted when Jose, the older son, who has come from Buenos Aires to see his mother after her accident, shows a sick interest in his beautiful sister. He enters the bathroom while she is taking a shower. At the same time, we are shown on the television set, an incident where people are attesting to seeing the Virgin Mary in a water tank on the roof of a house.

The director imbues the film in symbolism, which seems to be hard for viewers to follow. The story is deeper than what the images present for our viewing. That is why this enigmatic film did not reach a wide audience. It's a shame because Lucrecia Martel's film has a hypnotic way to get us involved.

Graciela Borges, an Argentine film star in her own right, plays Mecha, a woman of the moneyed society who appears to have seen better days. Ms. Borges underplays her character, achieving a great appearance. Mercedes Moran, who played Helena in "La nina santa", is seen as Lita, Mecha's cousin, Lita shows a lot of common sense. She also has a lot of problems, but she is much grounded than her cousin that is decaying in the old country estate. The ensemble cast is also good.

While "La Cienaga" is a disturbing work. Lucrecia Martel wrote and directed with great style. It's worth a look of fans of the Argentine cinema because it shows one of the most original talents in a film that dares to go where others don't.