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March 9, 2019 – March 11, 2019

Lucrecia Martel is the most important woman director in Latin America and among the best directors in contemporary world cinema. Her already-storied career consists of four features spanning 16 years and numerous short lms mostly made in the 1990s and early 2000s. Her first three features—La Ciénaga (2001), The Holy Girl (2004), and The Headless Woman(2008)— are all set in her native Argentina within a middle-class milieu and concerned with alienation, desire, and trauma as they play out speci cally for women in this culture which Martel knows intimately. Her most recent feature, Zama (2017), an adaptation of the Antonio Benedetto’s novel, concerns the travails of a mid-level colonial bureaucrat in 18th-century Paraguay, and has appeared on myriad best-of-2018 lists.

All four of Martel’s features have premiered at the world’s most prestigious lm festivals, including Berlin, Cannes, and Venice, and her precise, exacting use of cinematic framing, sound, and uncanny acting make her work uniquely thrilling in the broader landscape of the festival circuit. Marked by inconsistent funding, perhaps owing to her unique stylistic concerns, Martel’s relatively scant output (in the wider scheme of lm production trends) is illustrative of the hurdles women directors often face when getting their work made and presented on screen, at festivals, and in distribution. Despite this, Martel has become one of international cinema’s most important and treasured voices.

Lucrecia Martel will be in attendance this year at PIFF 42 for all four of her screenings.

La Ciénaga

Directed by Lucrecia Martel

Lucrecia Martel’s feature debut heralded the arrival of a major talent on the world cinema circuit; La Ciénaga is a

The Headless Woman

Directed by Lucrecia Martel

Lucrecia Martel’s third feature, premiering in competition at the 2008 Cannes Film Festival, divided critics from the start, owing to

The Holy Girl

Directed by Lucrecia Martel

Set in the confines of a small, modest Salta (northern Argentina) hotel, Martel’s sophomore feature—following her unforgettable debut La Ciénaga—bristles


Directed by Lucrecia Martel

“Martel ventures into the realm of historical fiction and makes the genre entirely her own in this adaptation of Antonio

The Northwest Film Center recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence.