Director Lucrecia Martel's storytelling is spare to the point of being stingy.

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The Holy Girl (2005)
Tomatometer
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Reviews Counted:22
Fresh:18
Rotten:4
Average Rating:7.1/10
Consensus: This provocative, lyrical drama mixes themes of forbidden sexuality and redemptive faith with a touch of humanism in a memorable, if disorienting, visual style.
Rated: R [See Full Rating] for some sexual content and brief nudity.
Runtime: 1 hr 46 mins
Genre: Foreign Films
Theatrical Release:Apr 29, 2005 Limited
Box Office: $234,013
Synopsis: With her award-winning feature-film debut, La Ciénaga (The Swamp) (2001), writer-director Lucrecia Martel emerged as one of the brightest figures of the new Argentinean cinema. In her follow up,... With her award-winning feature-film debut, La Ciénaga (The Swamp) (2001), writer-director Lucrecia Martel emerged as one of the brightest figures of the new Argentinean cinema. In her follow up, the 2004 Cannes Film Festival Competition entry, LA NIÑA SANTA (THE HOLY GIRL), Martel intimately explores the burgeoning sexuality and religious fervor of two teenage girls, Amalia (MARIA ALCHÉ) and her best friend, Josefina (JULIETA ZYLBERBERG). Artfully piecing together a mosaic of nuanced details, fragments of sounds, and small moments, Martel creates a potent and specific portrait of adolescent life. In the town of La Ciénaga, Amalia lives with her attractive, divorced mother, Helena (MERCEDES MORÁN), and her uncle, Freddy (ALEJANDRO URDAPILLETA), in the crumbling, run-down Hotel Termas, which her family owns and runs. After choir rehearsals the girls gather in the parish church for further instruction in faith and vocation. What does God want from me? How do I discern between the temptation of the Devil and the calling of God? In between the teachings, the girls gossip and whisper secretively. The lives of the girls and their families intersect with those of a group of visiting orhinolaryngologists (ear, nose and throat specialists) staying at the hotel for a medical convention, including the married, middle-aged Dr. Jano (CARLOS BELLOSO). One day, a crowd of people gather in the street to watch a man play an unusual, exotic instrument: a theremin. Amalia is in the crowd when a man standing behind her presses himself sexually against her. Later, in the hotel, she discovers that this man is Dr. Jano, one of the doctors attending the conference. Amalia finds herself drawn to the Doctor and for days she spies on him. Dr. Jano never notices her presence, but he does notice her mother, Helena. Helena greatly enjoys the attention from this man, but she has little hope as she knows he is married and has a family. Days afterward Amalia confides in Josefina what occurred in the street with Dr. Jano and of her secret mission: to save one man from sin. Dr. Jano becomes caught up in Amalia’s web of good intentions and the respected doctor finds his world is on the brink of collapse when her adolescent obsession sets off a chain reaction of social catastrophe. Understanding the temptation of good - and the evil it causes - LA NIÑA SANTA delicately explores themes of sin, frustration and desire. -- © Official Site [More]
Starring: Mercedes Moran, Carlos Belloso
Starring: Mercedes Moran, Carlos Belloso
Director: Lucrecia Martel
Director: Lucrecia Martel
Studio: Fine Line Features
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Reviews for The Holy Girl
Ultimately turns out to be something of a bore, a film that, like one of its main characters, wanders around touching on subjects and then fleeing before connecting fully.
Young and bold and bristling with talent, Argentine director Lucrecia Martel has continued right where she left off in her feature debut.
Keeping the viewers at a distance also makes it difficult to empathize with the characters, a situation worsened by disjointed plotting.
I'm tempted to write 'I say it's spinach and I say the hell with it,' except that I actually like spinach, and I could barely keep this half-baked dish down.
It's a document that suggests that the road to hell is paved with bad communication skills.
A collection of beautifully acted encounters, conversations, symbols, and vignettes woven into an evocative and unforgettably surreal garment.
A subtle artist and a sharp observer, Martel manages a large cast with an ease that matches her skill at storytelling, within which psychological insight and social comment flow easily and implicitly.
Viewers may be left feeling as frustrated as the characters, but the blurred storyline is also what makes the movie unique and memorable.
Spiritual longing gets tangled up with erotic fever for the teenage girls who whisper in one another's ears in Lucrecia Martel's marvelous, psychologically unnerving second feature.
Alche has an amazingly expressive face and becomes such a magnetic presence that you'll feel a distinct need to rescue her.
No wonder Pedro Almodovar signed on as executive producer. We suspect Luis Bunuel would have done the same, were he still with us.
The erotic and the surreal converge with an acuity that recalls Luis Bunuel in his prime.
Working against the grain of this potentially lurid story, Martel again builds her dryly comic drama from an accumulation of recurring riffs and seemingly unrelated micro-incidents.
| Tomatometer Percentage | Movie | Date |
|---|---|---|
| 100% 100% | Daybreakers | 1/8 |
| | Leap Year | 1/8 |
| 86% 86% | Youth in Revolt | 1/8 |
| | The Book of Eli | 1/15 |
| | The Spy Next Door | 1/15 |
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