"I get so much pleasure from the interplay between Bette Davis and Anne Baxter in this film. My favorite thing is that long party sequence. I’m struck by the challenge of shooting something like that, of tracking all the people on-screen and letting the drama unfold slowly over an extended period of time. There’s something thrilling about the progression of Davis’s character into drunken sloppiness, as she watches her lover become more and more fascinated with this younger woman. Her emotional unraveling, and the way the camera follows Davis’s performance, shows what can happen when a great director gets to work with a great actor."

"I remember the impact Lucrecia Martel’s debut feature had on film students, critics, and fellow filmmakers. It was released on one single 35 mm print in Brazil, and that was shredded over a period of a year after playing in just about all noncommercial movie theaters around the country. I love everything about this film: the obliqueness of it, the fresh and bold take on sexuality, the use of sound, the faces and bodies. It was also quite a reference for a filmmaker like me, who like Martel believed films could be about people interacting with a certain feeling of space and time, mediated by cinema itself."