The most salient feature of Lucrecia Martel’s 2004 film, The Headless Woman, is the insightful and meticulous observations she finds in mundane moments. The way droplets of rain disappear on a car window when they pass through a shadow and then reappear when they are backlit by the sky. The way dust clouds curl after someone stops walking. Martel’s films are autobiographical in nature but they are made far more intimate by simply watching the world…