This thesis analyses how the choices of framing in Argentinian director Lucrecia Martel’s The Holy Girl (2004) work as narrative devices. First, it presents different theories that discuss the frame of images, focusing on the ideas of deframing, decentralized vision, haptic visuality, and offscreen space according to authors such as Jacques Aumont, Rudolf Arnheim, Jean-Louis Comolli, and Laura Marks. Then, it gives context on the cinematic style of Lucrecia Martel, which is consistent throughout her four feature films and of great importance to understand her choices of framing shots. Finally, the thesis presents several examples of how the discussed concepts of framing are used in The Holy Girl, analyzing their implication on the narrative of the film and drawing the conclusion that the choice of unconventional framing for cinematic shots create significant narrative meaning.