The great doyenne of Argentine cinema, writer-director Lucrecia Martel, known for her acclaimed works such as La Ciénaga, The Holy Girl, and The Headless Woman, ventures into documentary filmmaking to cover a murder trial that expands into distinctly Martelian themes: land and terrain as active forces in people's lives, the tension between Indigenous communities and descendants of colonists, and the weight of institutions like the law and the church on everyday individuals.
A Stately and Poetic Approach
Like Martel's fictional features, Landmarks unfolds in a stately manner, featuring editing that lingers on speakers' faces, follows a cleaner polishing furniture, or observes a clerk distributing delicate cups of coffee to authorities as arguments drag on. Martel explores the poetic side of drone technology, providing viewers with a clear understanding of the landscape while creating dreamlike, disorienting sequences. In these moments, goats and people amble along mountain paths upside down, forming abstract landscapes in tonal shades of green. The result is beautiful, though occasionally soporific.
The Heart of the Case
The central case revolves around the shooting of 68-year-old Javier Chocobar, a member of the Indigenous Chuchagasta people in northwest Argentina's Tucumán province. Unarmed, Chocobar was killed during a chaotic scuffle when he and other Chuchagasta members confronted three men, one of whom claimed mining rights to the land. The other two were former police officers carrying three handguns. The attack was partially filmed by the perpetrators; although the actual shooting occurs off-camera, Martel integrates the footage into her film, with shaky, grainy textures that complement the soaring drone views.
Beyond Aesthetics: People and Erasure
Martel's concerns extend beyond aesthetics. People are central to the story, and the film delves into Chocobar's life, his wife, his family, and the Chuchagasta both historically and in the present. Most chillingly, it reveals how the state and local landowners have attempted to erase them, claiming the Chuchagasta died out in the early 19th century, implying the current community is not their descendants. The community disputes this, and Martel allows them to present their case with quiet dignity, avoiding strident rhetoric. Landmarks is currently screening at Bertha DocHouse, London.
