I'm inclined to say it's the work of a genius, or at the very least one of the most talented film-makers in the world.
It is one of the films of the year.

THE GUARDIAN
Peter Bradshaw

The director's display of great mastering of the cinema language is perhaps her most outstanding characteristic and the reason to state she is one of the best directors of current cinema.

LEER CINE
Daniela Vilaboa

Lucrecia Martel's subtle, climatic, virtuous, profound and decidedly nonconventional cinema is neither made for a superficial look nor conceived with the usual demagogy of many films trying to achieve, at any cost, an immediate liking, a direct emotion or an easy applause.

Each plan of The Headless Woman is a work of art in itself, a visual pleasure, a meditation full of meaning on the expressive possibilities of cinema, a virtuoso interaction among multiple textures of images and level of sounds. There are very few authors, both in Argentina and the rest of the world, who are able to achieve such a dimension.

OTROS CINES
Diego Batlle

Argentinian director Lucrecia Martel is nothing if not subtle. She is also a master of visual and aural technique, which is on full and splendid display in La Mujer Sin Cabeza.

Her new film is even more minimalist than the two earlier ones that marked her -- at least on the festival circuit -- as a stylish, exciting new director to watch, and thus may interest only the boldest distributors world-wide.

Martel's cinematic technique can be breathtaking. She knows how to evoke a barely-registered undercurrent of existential dread through repetitive, barely discernible noises or off-beat, insistent music on her soundtrack, in the manner of Russian master Sokurov.

HOLLYWOOD REPORTER
Peter Brunette

Martel further hones the visual economy and organic (yet meticulously structured), fractal narrative of her earlier films to create an Antonioniesque portrait of ennui and bourgeois dysfunction.

Martel's recurring themes of classism and privilege are elegantly brought to the forefront in The Headless Woman.

STRICTLY FILM SCHOOL
Acquarello

A perfect visual construction of each plan, musicality and the right detail for each dialogue line, original use of the sound and impeccable performances. The important thing is that nothing has been put in the film to impress. Here form is content.

If Martel's cinema provokes rejection or confusion in some people, that is what the film does, because the audience prefers their pre-established and perceptive system.

The Headless Woman is a road movie without a map or route. It is a movie that runs through the body and does not find any explanation when it arrives at the brain; instead it finds an X-ray of the skull.

CLARIN
Diego Lerer

The outstanding thing about The Headless Woman is that it allows multiple lectures and is not reduced to an only and single vision. Martel achieves some of an essential ambiguity with a detailed composition in each plan where information is plentiful but also ambiguous, enigmatic and fragmented.

PAGINA 12
Lucinao Monteagudo

This film has been narrated with a surgeon's precision and shows something wonderfully dealt with by Martel, that is the mystery lying at the end of the frame; those strange almost furtive gestures we have to interpret always according to our most intimate convictions...that absence of certainties, so uncomfortable and nevertheless exciting.

FOTOGRAMAS
Mirito Torreiro

Oblivious to any commercial strategy, Martel tries to detect social climates and states of mind. And in an indirect and subtle way she transmits them as feelings, being certain of the eloquence of details and randomly trapped words or gestures, and relying on the sensibility of the audience more than on their mental quickness. She does not ask for their intellectual liveliness but their honest participation and their sensory perception.

LA NACION
Fernando López

Martel once again demonstrates an acute eye for detail that forces audiences to study her compositions and dialogue closely.

VARIETY
Leslie Felperin

The main quality of this film, which hides behind its rationality, is to have found a way to visually destabilize the heroine.

LE MONDE
Jean-Luc-Douin

We can watch and interpret the blond woman as we please

CAHIERS DU CINEMA
Jaime Pena