By Monica Delgado

With La Ciénaga (2001), Lucrecia Martel made her debut into feature films, and did so with clear and rational structure that looks to reflect the signs of decadence of a social class, with characters that spend summer in an Argentinian northern rural zone estate. Beyond raising the question of how a determined social stratum in Argentina becomes reflected in this film, I’m interested in finding out some motives about the idea of family that La Ciénaga suggests.