{"id":23137,"date":"2019-03-20T12:51:35","date_gmt":"2019-03-20T16:51:35","guid":{"rendered":"https:\/\/jayceland.com\/blog\/?post_type=tribe_events&#038;p=23137"},"modified":"2019-03-20T12:51:35","modified_gmt":"2019-03-20T16:51:35","slug":"la-mujer-sin-cabeza-the-headless-woman-screening","status":"publish","type":"tribe_events","link":"https:\/\/jayceland.com\/blog\/event\/la-mujer-sin-cabeza-the-headless-woman-screening\/","title":{"rendered":"La mujer sin cabeza (The Headless Woman) screening"},"content":{"rendered":"<p>The <strong>Dryden<\/strong> will screen <strong>La mujer sin cabeza<\/strong> (<em><strong>The Headless Woman<\/strong><\/em>, Lucrecia Martel, Argentina 2008, 87 min., 35mm, Spanish w\/subtitles) as part of the Lucrecia Martel series. <\/p>\n<blockquote><p>Lucrecia Martel continues her meditation on class, family, secrecy, and guilt in her third film and final installment in her Salta trilogy, set in northwestern Argentina. Ver&oacute;nica (Mar\u00c3\u00ada Onetto) is an elegant, middle-aged woman driving home from a family party. Looking down for a moment to find her ringing cell phone, she hits something with her car. She brakes quickly, appearing to hit her head and suffer whiplash. Some children and a dog had been playing near a canal alongside the road, but Ver&oacute;nica drives onward after a silent pause. The mystery of the possible hit-and-run plays at the periphery of the film as the cinematography reveals physical, social, and psychological decay surrounding the dazed protagonist. Infidelity, cover-ups, and hushed questionings of memory and guilt serve as a veiled parallel to Argentina's history of repressive dictatorship and disappeared people.<\/p><\/blockquote>\n<p> <em>[source: <a HREF=\"https:\/\/www.eastman.org\/event\/film-screenings\/headless-woman\">George Eastman Museum calendar<\/a>, 2019-Mar-18]<\/em> <\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Dryden will screen La mujer sin cabeza (The Headless Woman, Lucrecia Martel, Argentina 2008, 87 min., 35mm, Spanish w\/subtitles) as part of the Lucrecia Martel series. Lucrecia Martel continues her meditation on class, family, secrecy, and guilt in her &hellip; <a href=\"https:\/\/jayceland.com\/blog\/event\/la-mujer-sin-cabeza-the-headless-woman-screening\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"template":"","meta":{"_tribe_events_status":"","_tribe_events_status_reason":"","footnotes":""},"tags":[],"tribe_events_cat":[3315],"class_list":["post-23137","tribe_events","type-tribe_events","status-publish","hentry","tribe_events_cat-jayceland-2019-mar-21","cat_jayceland-2019-mar-21"],"_links":{"self":[{"href":"https:\/\/jayceland.com\/blog\/wp-json\/wp\/v2\/tribe_events\/23137","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jayceland.com\/blog\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/jayceland.com\/blog\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/jayceland.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"version-history":[{"count":1,"href":"https:\/\/jayceland.com\/blog\/wp-json\/wp\/v2\/tribe_events\/23137\/revisions"}],"predecessor-version":[{"id":23189,"href":"https:\/\/jayceland.com\/blog\/wp-json\/wp\/v2\/tribe_events\/23137\/revisions\/23189"}],"wp:attachment":[{"href":"https:\/\/jayceland.com\/blog\/wp-json\/wp\/v2\/media?parent=23137"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jayceland.com\/blog\/wp-json\/wp\/v2\/tags?post=23137"},{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/jayceland.com\/blog\/wp-json\/wp\/v2\/tribe_events_cat?post=23137"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}