14 Gutta cavat lapidem: The Sonorous Politics of Lucrecia Martel’s Swimming Pools
You can just about hear it over the closing credits: the sound of the thermal pool that is the submerged centre of La niña santa [The Holy Girl] (2004), the second full-length feature from Argentinean filmmaker Lucrecia Martel. Part of the Latin American ‘buena onda,’ Martel is particularly concerned with the unseen, ‘disappeared’ and repressed as they float to the surface, a process both psychological and political that is represented literally through her use of swimming pools. Her films depict relations between the older bourgeoisie, complicit in the junta, and the emergent dispossessed generation post-junta and/or economic crisis. This is exemplified in La niña santa by hotel manager Helena, a former competitive diver, and her daughter, the titular holy girl Amalia. In the final scene, Amalia and her best friend Josefina swim out of the frame before the scene cuts to black, either erased by the adult forces they have set in motion, or escaping them; their voices and bodily movements persist tellingly on the soundtrack. Splashing, whispering, giggling, singing, the girls’ bodies are continuous with the water in the pool as it creates auditory distortions.
Throughout the film, this spa/ce, which is both within and without the hotel, provides a sonorous marker that disturbs and connects the central characters. Only at the end of the film is it seen – ‘revealed’, to borrow the film’s religious language – through the...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.