The news that Lucrecia Martel was working on a new feature film — less than three years after premiering 2017’s “Zama” — was excitedly received by world cinema buffs: nine long years had sepa…
was working on a new feature film — less than three years after premiering 2017’s “Zama” — was excitedly received by world cinema buffs: nine long years had separated “Zama” and her previous feature, “The Headless Woman,” and admirers of the enigmatic Argentine auteur had no reason to expect a suddenly increased work rate.
Perhaps, then, Marcel will take the pandemic-induced limbo in which the film industry finds itself more in her stride than most. Audiences, meanwhile, must summon up their pre-”Zama” patience for “Chocobar,” Martel’s first feature-length documentary, early production of which was halted at a critical stage in the spring.
Made with the assistance of a Sundance Institute award, her debut feature “La Cienaga” premiered in Competition at the 2001 Berlinale, announcing her as a fully formed and beguilingly peculiar talent and scooping the formerly named Alfred Bauer Prize for “new perspective.” That it certainly was: an acrid, humid tinderbox of repressed bourgeois family tensions in the rural north, its wilful, challenging structure flew in the face of advice Martel had received from Sundance script advisers.
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