Writer-director Lucrecia Martel (Zama, 2017, Argentina) didn’t ever attempt to answer the why about anything in her auspicious feature debut, most especially not its characters’ man vs. nature conflicts. Instead, in La cienaga, she seems genuinely uninterested in explanations of any kind. Relationships among family members – when they can be identified as such – are nebulous and lack archetypal social boundaries, including sexual ones.
A true absurdist artwork that’s message is clearer through what Martel subtracted – the “why” and the relationship boundaries. The focus naturally shifts to the strange ways in which the characters interact. In this way, La Cienaga acts as a sort of anthropological survey, but mostly outside the context of the people’s motives. The settings include characters’ homes, public nightclubs, and the natural outdoors; nothing really out of the ordinary. But Martel’s perspective makes these almost clinical.
As in Jean-Luc Godard’s Week-end (1967), momentum flows from the central characters, bending and twisting through rivers and creeks of action, though not technically plot. The result is a purposely chaotic, yet sensitively observed work which boldly and incisively questions the interpersonal dynamics of the status quo.
the international CRITIQUE rating: ★★★★★