The Headless Woman (2008) came between the other two Lucrecia Martel movies I have seen (La Ciénaga (2001) and Zama (2017). Of Zama, I wrote that "its pleasures have less to do with narrative thrust and more to do with the feel of each scene" and "Martel isn't really concerned with audience ease." It's not that her films are impossible to grasp, but she does require you to meet her more than halfway.
The most intriguing mirror of The Headless Woman comes from the 1962 B-movie Carnival of Souls. Martel has cited that film as an influence, and there have been some good analyses of The Headless Woman that take off from that point. (Check out Catherine Grant's video essay "The Haunting of The Headless Woman".) Both films begin with women in auto accidents who spend most of the rest of the film confused about, well, everything. María Onetto, who plays Vero, perfectly shows us the character's befuddlement. She's helped by Martel's script and direction ... Martel is not someone to present the audience with obvious points we can center on. Odd camera angles, where the characters are just off-camera, help us feel Vero's unsettling experiences. (Martel also uses a lot of static camera shots, which give us time to gather information off the screen.) Vero eventually seems to reconcile herself with whatever happened, although I found her revelations less impressive in that by that point, I was too unsure of what I was seeing to trust my sense that Vero had moved on.
The Headless Woman always keeps us in its world on a scene-by-scene basis. But, as with her other films, you can't count on an easy narrative. #650 on the They Shoot Pictures, Don't They list of the top 1000 films of all time. #68 on the TSPDT list of the top 1000 films of the 21st century.