|Genre: Drama, Comedy, Black Comedy, Satire, Marriage, Experimental|
Plot: IN THEATRES: OCTOBER 3, 2001 (NY)
This Argentinean tale, which revolves around a group of families passing summer vacation in a rural country house, does not rely on a concrete plotline, but rather roves, rambles, and stumbles upon each new event. The most notable characteristic of LA CIÉNAGA is its mood--a brooding, dreadful, fearsome tension that does not wain or cease even in the very last moment of the film. No event, no action, no exchange of words, no scene of the movie is more or less important than another. Instead, the film continues nonsequentially in what feels like a prolonged wait.
Using gorgeous, realistic photography--of green mountains against a grayish humid sky, of the bright colors of summer swimsuits and shorts stained with blood or mud, of the simultaneously beautiful and disgusting human body--Lucrecia Martel's oeuvre is about strings of images and the suggestion of potential meanings. Never, however, does the director step over the line and reveal too much to her viewers. As characters come and go from the film's focus, maintaining a chilly distance from the viewer, LA CIÉNAGA unfurls slowly, languorously, and without closure.
This film screened in September 2001 as part of the 39th New York Film Festival, organized by the Film Society of Lincoln Center
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