The purpose of this paper is to analyze the combination of eroticism and mysticism incarnated in Amalia, the main character of Lucrecia Martel's film The Holy Girl (La niña santa, ), following the traces of Freud's Dora in “Fragment of An Analysis of a Case of Hysteria”. Amalia and Dora present many aspects in common: Amalia's family, as well as Dora's, is dysfunctional. In both adolescents their sexual awakening is conflicted because they occurred with a forbidden, older man-an oedipal figure in the middle of an incestuous atmosphere with illicit boundary crossings. They struggle with their emerging sexuality and with the confusing sexuality and hypocrisies of the adults around them. Dora's solution for her anxieties is neurosis-hysterical symptoms and rebellion while in Amalia is the idea of vocation and salvation to the other by the catholic faith (although in her second dream Dora, too, identifies with the figure of the Madonna). Both are subversive in secret ways. Another parallelism consists in Martel interest in working in layers of meaning, and the extreme importance she concedes to sound and listening (the other side of “the talking cure” in an analytic session).