Javascript must be enabled to continue!
The Conquest of the Uncomfortable: An Interview with Lucrecia Martel
View through CrossRef
On 20 March 2021, Natalia Christofoletti Barrenha (in Hastings, UK), Julia Kratje (in Buenos Aires, Argentina) and Paul R. Merchant (in Bristol, UK) spoke with Lucrecia Martel (in Salta, Argentina) about her career, some underexplored connections between her films (like humour, or the traits which imbue her films with a certain air of comedy, or musical collaborations, such as those with Juana Molina, Björk, and Julieta Laso, that have not been considered as closely by the audience or by the critics), and her plans for the future, including reflections on the Covid-19 pandemic. Martel says: “I think no one (at least among the people who enjoy my movies) cares about what the film is about. (…) As regards what making a movie means, ‘what the movie is about’ is something very superficial, which enables you to organise time and a series of things, but ‘what the movie is about’ lies in the experience of the film. It isn’t something you can include in the synopsis, or a logline”. In this sense, this chapter invites the reader to participate in a conversation that cannot be summed up in a few lines.
Edinburgh University Press
Title: The Conquest of the Uncomfortable: An Interview with Lucrecia Martel
Description:
On 20 March 2021, Natalia Christofoletti Barrenha (in Hastings, UK), Julia Kratje (in Buenos Aires, Argentina) and Paul R.
Merchant (in Bristol, UK) spoke with Lucrecia Martel (in Salta, Argentina) about her career, some underexplored connections between her films (like humour, or the traits which imbue her films with a certain air of comedy, or musical collaborations, such as those with Juana Molina, Björk, and Julieta Laso, that have not been considered as closely by the audience or by the critics), and her plans for the future, including reflections on the Covid-19 pandemic.
Martel says: “I think no one (at least among the people who enjoy my movies) cares about what the film is about.
(…) As regards what making a movie means, ‘what the movie is about’ is something very superficial, which enables you to organise time and a series of things, but ‘what the movie is about’ lies in the experience of the film.
It isn’t something you can include in the synopsis, or a logline”.
In this sense, this chapter invites the reader to participate in a conversation that cannot be summed up in a few lines.
Related Results
Lucrecia Martel
Lucrecia Martel
Lucrecia Martel (b. 1966) is one of the best-known contemporary Latin American filmmakers. She is an innovative stylist who has gained worldwide recognition for her strange, oneiri...
Lucrecia Martel
Lucrecia Martel
This book provides an overview of the films of the Argentine filmmaker Lucrecia Martel, who counts as one of the most accomplished filmmakers from Latin America and as a leading fe...
ReFocus: The Films of Lucrecia Martel
ReFocus: The Films of Lucrecia Martel
Lucrecia Martel has made only four feature films to date, but has nonetheless become one of the world’s most admired directors. Her work is extraordinarily sensitive to the limits ...
Phenomenology of Spirits: Off-Screen Horror in Lucrecia Martel’s Films
Phenomenology of Spirits: Off-Screen Horror in Lucrecia Martel’s Films
This chapter analyses the sophisticated system of disruption embedded within the image in Martel’s work. On many occasions, the filmmaker has expressed her predilection for horror ...
Short Films as Aesthetic Freedom
Short Films as Aesthetic Freedom
This chapter seeks to demonstrate that the short films in Lucrecia Martel’s cinema recover the possibility (typical of the short films of the historical avant-garde and experimenta...
How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage
How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage
The films of Latin American female screenwriters, Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru), have achieved international prominence in recent yea...
Martel Variations
Martel Variations
Focusing on some early and short productions by Lucrecia Martel, the article will analyze the essayistic dimension of his cinema: cinema as an act of thinking, which is, in her cas...
A Poetics of the Senses
A Poetics of the Senses
Film images affect primarily the spectator’s senses, engaging him physiologically before he is in a position to respond intellectually.
—Siegfried Kr...

