“My wish in life is to make films where people don’t have to suffer the time or the slowness, to find more pleasurable ways,” she said. "When she was 17 years old, she accompanied her father to At the end of that school year, Martel traveled to Buenos Aires to study advertising at the Not wanting to neglect her interests in the technical and the creative, while at the University of Buenos Aires she enrolled in a nighttime animation course at the While at IDAC, she decided to take the admission exam for Argentina’s only state-sponsored film school at the time—the Another short film Martel directed as a student is Martel says that “just when [she] was starting to think that [a career in] film was impossible, that it was time for [her] to get a (real) job,” she entered a public script competition organized by the In 1999, Martel's screenplay for her debut feature film In 2001, Martel was selected for the 3rd edition of the Cannes Film Festival “Martel’s filmic trilogy about life in the province of Salta, Argentina," writes film scholar Paul A. Schroeder Rodríguez, "explores the country’s incomplete transition to democracy from the perspective of strong, intelligent, and Film scholar Paul Julian Smith wrote that although “Martel has had to rely rather on a cocktail of small, mainly European, production companies” to fund her films, “industrial constraints and transnational flow have not compromised [her] artistic individuality.... [Her] severe In a survey of 35 prominent film critics, scholars and industry professionals based in New York City, all three feature films figured among the top ten Latin American films of the decade, with Martel's work has also attracted a good deal of academic attention. Film scholar Paul Julian Smith wrote in 2015 that she is “arguably the most critically acclaimed auteur in Spanish-language art cinema outside Latin America” and that her “transnational auteurism and demanding features have earned her a hard-won reputation in the world art cinema Die Frau ohne Kopf (Originaltitel: La mujer sin cabeza) ist der dritte Spielfilm von Lucrecia Martel und gehört mit La Ciénaga – Morast (2001) und La niña santa – Das heilige Mädchen (2004) zur sogenannten Salta-Trilogie der Regisseurin. Her father, mother, and maternal grandmother Nicolasa were "very good storytellers" and would tell her and her six siblings "lots of stories" to keep them quiet in bed while the adults took their afternoon Martel first used a video camera when she was "15 or 16" years old, she says, after her father bought one to store memories of their large family. “My wish in life is to make films where people don’t have to suffer the time or the slowness, to find more pleasurable ways,” she said. Am Ende des Films tauchen zwei der drei indigenen Jungen wieder auf, die in der Schließlich stellt sich heraus, dass der vermisste Junge ertrunken ist, und nicht von einem Auto erfasst wurde.

“When something like this happens and your life is at risk, you think there’s no way for me to continue to do what I want to do,” she said. Eventually, Zama roams the countryside, a lawless terrain overrun by disease and carefree marauders, trapped by the colonialist forces that brought him there. El cine es su religión, lo ha dicho muchas veces. „Lucrecia Martel verwandelt ihr bildgewaltiges Historiendrama zugleich in ein optisch wie akustisch so betörendes Tropendelirium, das seinesgleichen sucht, anstatt sich möglichst realitätsnah an der zunehmend kuriosen Handlung abzuarbeiten. Sixteen years ago, Pedro Almódovar saw Argentine director In fact, there are many miraculous aspects to Martel’s career: She developed an aesthetic out of languid poetry, digging into the contradictions of modern Argentine identity with a near-experimental focus on characters who feel out of sync with their surroundings. We have treated indigenous communities with a heavy burden, and devalue the vision of the reality.”In “Zama,” natives lurk in the background but often overtake the frame, as if reminding Zama that his vain desire for authority can’t fully overtake their lives.

El cine es su religión, lo ha dicho muchas veces. “This was quite unusual, the impact of the position on the functionary. It’s meant to be disturbing.”Still, she’s keen on opening up her sensibilities to wider audiences.