LM: I don’t like swimming pools, because I have the feeling that they are always dirty, like an infection. At the same time, in Argentina, there are not many public swimming pools, so I think that the idea of having a cube of water just for a few people is like having a slave—to think that all of this water belongs to you as your property. I like to shoot in swimming pools, though, because it’s like a room, below the level of the ground, full of water. There are many similarities between the behavior of a body inside a swimming pool and out of the pool. Both are in an elastic space. It’s fluid. The sound outside and the waves inside the pool both touch you in the same way. I think there are a lot of similarities in perception—between being in a pool and being in the world.
LM: There is a beautiful and at the same time horrifying mechanism in society: if you want to protect someone, you can disown his or her responsibility across his or her class. This sounds really beautiful, but it only works for some layers of society. The film reveals a blurred moment of a woman’s life, and shows how things become more secure by making certain things disappear. Like my other films, The Headless Woman doesn’t end in the moment that the lights go up, it ends one or two days later. That’s why I don’t like to do [post-screening] Q&As.
LM: You know, family is like a swimming pool too. If you want to understand things that you see in the spread of social life, if you focus on the family, you can see it immediately. And the desire amongst family members, it’s closely linked to the gap between classes and to the social tendency to want a social class closed, like a caste, while the gap between classes gets bigger.
LM: The generation that was around in the 1970s was really involved in politics. They had a strong sense that their actions could change the world. After the dictatorship and the 1980s, there was this horrible individualism in our culture. It was exactly the opposite of this notion that you are an actor in the history of your culture and your time. In a way, for me, to make cinema is very public. It is like a public speech. It is my way of belonging to history. I found in cinema a kind of happiness, a way to fulfill my life as an actor in this history.
LM: If you want movies to give you everything, this movie fails. You have to be there. I need you. I don’t want to show you. I want to really share something. It’s not easy. When you have a conversation, and you really want to understand the other person, it takes time and effort. It's the same with this movie.
LM: Lynch and Apichatpong oblige you to lose your mind.
(taken from: http://www.reverseshot.com/article/interview_lucrecia_martel)
I included another bathroom because they are so beautiful here! Halls of mirrors on the walls in the malls.
The "naughty" picture was a sex toy window display which I thought was unusual given Singapore's reputation for be very conservative. I didn't get a good shot of the toys but they were very well made. 
