Martel is not a prolific director. After more than 20 years of film making, almost all of her works have been favored by the three major European film festivals. In 2001, she directed her first feature film, The Swamp, which was shortlisted for the 51st Berlin International Film Festival and won the Alfred Bauer Award. She subsequently directed films such as The Holy Girl and Zama, which have been shortlisted for the main competition section of the Cannes and Berlin film festivals many times. She is hailed by the VOGUE magazine as "one of the greatest directors in the world today". In addition, Martel's video works and lectures can be found in Harvard University, University of Cambridge, Lincoln Center in New York, Tate Modern and Tate Britain and other top universities and well-known art centers around the world.

Martel's connection to the art of cinema was not new. Her childhood didn't give her much time for movies. Her mother and grandmother were the guides to Martel's film career, giving her a unique perspective on life through storytelling. Martel used this dictation as a source of inspiration for her later work. It was only at school, when Martel read a story again, that she learned it had been written by a novelist. This way of putting herself in the story is also applied to her film creation. "Every scene in the movie is like a memory," she said in an interview. I don't think of them as set shots, I put myself in them.”

After work, Martel used to go with his grandmother to visit sick women. Martel did not want them to use too many words to tell their personal experiences, so as to restore the truth. She used to observe them with "hidden eyes". This experience has had a profound impact on the way her films are told.

In Martel's films, it is as if the audience lose the privilege of a "God's point of view" -- along with the shots, the audience in front of the screen are allowed to walk into a situation set up in the film, they sees the same thing as the character, and there are no other details to help them understand the situation. As Martel once explained in an interview, "Films that are not drama-oriented are often built on such details. If the audience are trying to find a guide, it's hard to ask them to come into the film because they get tired easily. Not doing this kind of search will allow you to have a greater harvest.”

Martel's film vision, plot structure and seemingly mundane dialog are all skillful and ingenious. What's more, she never designs her shots in advance -- the ones that seem to have been artfully considered are decided on set during rehearsals with the actors.

She invests time in communicating with actors and understanding their innermost emotions rather than spend time in rehearsals. At the same time, she wants actors participated to get to know her better. It is this successful two-way communication that allows her, as a director, to guide the actors behind the camera and help them convey the delicate emotions behind the story through subtle body movements.

"Image and sound work together to create great suspense, making reality incredible!” That is Martel's handwritten message to the audience on the eve of the award. As the most important force in Argentine film trend, Martel not only has exquisite artistic attainments, but also has rich experience in awards. She was invited to serve as a jury member on the main competition section of the 59th Festival de Cannes and a jury member on the main competition section of the 65th Venice International Film Festival. In 2019, she served as the jury president on the main competition section of the 76th Venice International Film Festival.

As a jury member of the Tiantan Award of the 12th Beijing International Film Festival, Lucrecia Martel, together with other judges, will have an insight into each film and select the best unique one. In addition, as the most proud filmmaker of Argentine people, Martel will also use her own way to let the Chinese audience feel the unique charm of Argentine films.