Metacritic reviews

Brilliant, maddeningly enigmatic puzzle of a movie.

No simplistic status parable. It’s more a psychological snapshot of a person forever doomed to remain a voyeur to her own life

Martel's vision is so visually rich and complex it borders on the impressionistic, but The Headless Woman would be nowhere without the precise tour de force performance by Onetto.

A remarkably nuanced, ever-evolving performance (María Onetto).

Guilt and alienation from Argentina’s Lucrecia Martel, so arty, enervated, and allegorical it might have been made by a European in the early sixties.

As dense and fluid as Martel's movie is, the viewer--like the protagonist--is compelled to live in the moment. And a rich moment it is.

A simpler and more taut, if slightly less interesting version of the oblique but mesmerizing studies of family life in fetid, hothouse atmospheres the Argentine helmer offered up in "La cienaga" and "The Holy Girl."

Not the supernatural horror picture its title suggests, but this subtle, elliptical film evokes its own kind of nightmarish situation.

As promising as the premise sounds, it cannot rise from the mundane.

The disjointedness of The Headless Woman might be the result of narrative complexity or of directorial ineptitude or (my favorite) of narrative complexity mangled by directorial ineptitude. If the residual fog ever clears, maybe I'll be able to tell you for sure.