From the very first shot of her very first feature, LA CIÉNAGA, Argentine auteur Lucrecia Martel laid claim to a distinctive, defiantly strange cinematic syntax unlike any other. In this edition of Observations on Film Art, Professor Kristin Thompson examines the surprising choices—uncomfortably tight framing, unusual camera positions, and soft- and out-of-focus lensing—that Martel uses to keep the identities of and relationships between her characters intriguingly opaque and to heighten the film’s stinging critique of bourgeois torpor.