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The Holy Girl (2005)
Tomatometer
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Reviews Counted:56
Fresh:43
Rotten:13
Average Rating:6.9/10
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
Some of The Holy Girl is hard to follow, but the reward is Martel's ability to create a spiritual yet subtly lecherous mood.
Martel's distinctive and fascinatingly innovative style warrants her being considered as an auteur.
...at once humane, encompassing every shade of gray, and bracingly cold-eyed in its assessment of human endeavor.
Obviously, this one is not for all tastes, but it is an impressive showing for Argentine filmmaker Martel, who's managed to do Almodovar-type material every bit as well as her mentor.
Director Lucrecia Martel's storytelling is spare to the point of being stingy.
what should have been a religious experience comes off more like a botched coming-of-age tale with some pungent atmospherics.
Martel's style is tentative, elusive, so much so that even the most conventional episodes benefit from her fresh perspective.
Provokes a wealth of unsettling thought, even as it declines to pass any final judgments of its own.
Alche's crooked grin is as gleeful as the nose-wriggling enchantress in Bewitched. The elliptically implicit ending reminds me of Purple Noon minus the murder.
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.
A series of fractured tales that never resolve, never explain anything, and never get any more interesting.
The subtly sinister atmosphere is certainly striking...but the story is so fragmentary and allusive that trying to make much sense of it is rather like grasping at smoke.
The volatile plot churns with a style that toys with the rawest edge of R-rated tolerance much like American Beauty did in 1999.
| 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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