A Counter-narrative of Argentine Mourning

This article suggests an oblique reading of The Headless Woman (2008), the latest film by Lucrecia Martel, a founder member of the so-called New Argentine Cinema and one of the major stylists of contemporary cinema. Unlike the many memorial films that surround the trauma of the dis- appeared in Argentina, The Headless Woman ‘countersigns’ the genre, proposing a hallucinatory experience of immersion within the affects of guilt, complicity and denial unleashed by the last dictatorship (1976—83). By presenting the existentialist drama of an upper-class woman involved in a seemingly minor car accident on a deserted provincial road, the film manages to stage a counter-narrative of the traumatic past that affected the whole of society beyond obvious sites of suffering. Through an engagement with Judith Butler’s account of mourning, this article argues that the film bears the traces of a collective mourning, an experience of grief that permeated the Argentine citizenry and challenged blood as the only form of kinship. The article contends that the affects explored in Martel’s film may be crucial in confronting the new faceless, that is, those whose social exclusion persists unnoticed during the current democratic regime, and whose lives are in a sense ‘ungrievable’. By proposing an entanglement of temporalities, the analysis suggests that the 30,000 lives made to disappear during dictatorial times cannot be grasped except in conjunction with the silence surrounding poverty, the new spectre of the present. In Martel’s film each viewer becomes a witness and also a survivor and is thereby subtlety compelled to respond. In this way, The Headless Woman also suggests an ethical key to future possibilities.