The mysterious and austere final installment of Martel’s Salta trilogy moves away from the layered narratives of her earlier films to adopt the intense, almost hallucinatory, first-person perspective of a successful dentist uncertain of her responsibility for a hit-and-run accident that may or may not have taken place. In tune with the heroine’s intense post-traumatic state, The Headless Woman lingers on the puzzling clues that emerge in a miasma of guilt and denial that gradually implicates everyone around her. Martel’s characteristically minimal story is also her darkest and most explicitly political statement, offering a pointed critique of class inequity and bourgeois indifference.