Our Land

dir. Lucrecia Martel · 2026

Snapshot

Our Land is Lucrecia Martel's first feature-length documentary and her first completed feature since Zama (2017), the longest interval between films in her career. It reconstructs the killing of Javier Chocobar, a leader of the Indigenous Diaguita community of Chuschagasta in the province of Tucumán, northern Argentina, who was shot dead in October 2009 by a landowner and two accomplices during an attempt to evict the community from territory they claimed by ancestral right. Crucially, the murder was captured on video by a community member, and that footage — along with photographs, testimony, and eventual courtroom material from the trial that finally opened in 2018, nine years after the crime — forms the documentary's evidentiary and formal spine. Martel uses the case as an aperture onto the much longer history of colonial dispossession in the Argentine northwest, the region of her own birth and the setting of nearly all her fiction. The film marks both a departure (nonfiction, a real death, a real archive) and a continuity (her abiding attention to power, land, race, and the buried violence beneath provincial respectability). It belongs to a wave of politically engaged Latin American documentary that places Indigenous land struggle and state impunity at its center, and it arrives carrying the considerable critical weight of Martel's reputation as one of contemporary cinema's most rigorous formalists. Because the film is very recent and the documentation available at the time of writing is limited, several production and reception specifics below are flagged as uncertain rather than asserted.

Industry & production

Our Land emerged from a long, interrupted development. After Zama, Martel attached herself to and then departed several projects — most publicly an adaptation of the life of astronaut and a science-fiction property she later left — and the Chocobar documentary appears to have been the work she returned to and saw through. Public reporting from the late 2010s indicated she had been researching the Chuschagasta case and the broader question of Indigenous land title in Tucumán; the trial's opening in 2018 gave the material a narrative arc and an archive (court proceedings) the earlier years lacked.

The production is Argentine-led and, characteristic of Martel's auteur-scale documentary work, almost certainly assembled through European co-production and festival/fund support; the specific production companies, co-producers, and financing bodies are not something I can state with confidence and should be verified against the film's credits. Martel's fiction features were built through partners such as El Deseo (the Almodóvar brothers' company, behind The Holy Girl and The Headless Woman) and a web of European co-financiers, and her documentary is likely to have drawn on comparable Ibero-American and European sources, but I will not invent names or figures. The film's premiere venue and date — the synopsis dates it 2026 — sit at or just beyond my reliable knowledge; I cannot confirm which festival hosted its premiere or its exact release sequence without inventing it. Given Martel's standing, a major-festival launch (Berlin, Cannes, Venice, or San Sebastián) is the plausible path, but this should be checked rather than trusted.

What can be stated firmly is the institutional meaning of the project: a director of Martel's canonical stature turning her instrument toward a documented act of anti-Indigenous violence lends the case international visibility that local Argentine activism had struggled for years to secure. The film functions, in part, as an amplifier for a community's decade-long legal and political fight.

Technology

The film's most consequential technological fact is not a camera Martel chose but a recording she did not make: the amateur video of the 2009 killing, shot on whatever consumer device a community member had to hand. This piece of vernacular, evidentiary digital footage — low-resolution, contingent, captured because the community anticipated violence and prepared to document it — becomes the film's center of gravity. Our Land is therefore a work organized around found digital evidence, and its other technologies (Martel's own contemporary digital cinematography, photographic archive, and courtroom recordings) are arranged in relation to it.

Martel's recent practice is digital; Zama was shot digitally by Rui Poças, and there is no reason to expect a return to film for a documentary of this kind. The production's apparatus is thus best understood as a layering of image regimes of different provenance and quality — community photographs, the killing video, court footage, and freshly shot material — held together by editing and, above all, by sound. Specific camera and post-production tools are not documented to me and I will not guess at them.

Technique

Cinematography

Without confirmed authorship of the photography, what can be said responsibly is grounded in Martel's established visual grammar and the demands of the material. Her fiction is famous for the off-center frame, the withheld establishing shot, shallow planes crowded with bodies, and a refusal of the clean master that would orient and reassure the viewer. In a documentary built from heterogeneous archive, this sensibility translates into a question of how to frame land, faces, and evidence without converting suffering into spectacle. The contrast between the degraded killing-video and any newly photographed landscape of Chuschagasta is itself a cinematographic argument: the territory shown in lucid contemporary images is the same ground over which the recorded violence occurred. The director of photography is not something I can name with certainty; treat any single attribution as requiring verification.

Editing

Editing is where a documentary of this design is largely authored, and Our Land is structurally an editing problem: how to sequence community memory, photographs, the murder footage, and nine years of legal delay into something that indicts impunity without flattening it. The nine-year gap between crime and trial is itself a dramaturgical fact the cutting must register — duration as injustice. Martel's fiction editing favors ellipsis and disorientation over expository clarity, and a documentary in her hands is unlikely to adopt a conventional chronological-explainer structure; one expects withholding, juxtaposition, and the slow accretion of understanding. The editor's identity and the film's precise structural scheme should be confirmed from the credits rather than assumed.

Mise-en-scène / staging

In nonfiction the relevant category becomes how Martel arranges what she did not stage — the disposition of testimony, the placement of photographs and voices, the framing of community members as speaking subjects rather than victims-as-evidence. The synopsis's phrasing, that the film "combines the voices and photographs of the community with courtroom footage," signals a deliberate authorial choice to foreground Indigenous self-representation alongside the institutional record. The staging logic is one of counter-archive: the community's own images and words set against, and ahead of, the state's belated juridical document.

Sound

Sound is the dimension where attribution to Martel is safest, because she is universally regarded as one of cinema's foremost sound directors; the dense, enveloping, often ominous soundscapes of La Ciénaga, The Headless Woman, and Zama are central to her authorship. In a documentary about a killing recorded on video, the handling of sound — what is heard, what is muted, how testimony is given acoustic space, how the off-screen and the ambient carry dread and history — is likely the film's most distinctly Martelian register. Her long collaboration with sound designers in the Argentine industry (notably Guido Berenblum on earlier features) situates this work within a recognized practice, though the specific sound team on Our Land should be verified. It is reasonable to expect that the film treats sound not as accompaniment but as a primary means of moral and historical address.

Performance

As a documentary, Our Land has no actors; its "performances" are the testimonies, gestures, and self-presentations of the Chuschagasta community and the figures of the legal process. The ethical weight falls on how Martel frames real people speaking about a real death within their own community — the murdered Javier Chocobar's kin and neighbors. The presence, in the killing video, of the perpetrators and the victim turns documentary footage into a kind of involuntary performance of violence that the film must handle without exploitation.

Narrative & dramatic mode

The film operates in an investigative-essayistic documentary mode rather than a procedural one. Although it has the raw materials of a true-crime narrative — a murder, video evidence, a delayed trial, free perpetrators — it appears, consistent with Martel's sensibility, to subordinate suspense and resolution to a historical and political argument. The dramatic engine is less "will justice be done" than "what conditions made this death possible and this impunity routine." The nine-year delay and the killers remaining free even as proceedings open deny the form its conventional catharsis; the film's mode is accusatory and elegiac rather than redemptive. The interleaving of community memory with courtroom record suggests an essay structure that moves between the intimate and the institutional, between a single killing and a centuries-long pattern.

Genre & cycle

Our Land sits within several overlapping cycles: the Latin American political documentary of land, extraction, and Indigenous rights; the global cycle of films built around vernacular and evidentiary video (in which footage shot by witnesses becomes the basis for cinematic reckoning); and the auteur-documentary, in which a major fiction director turns to nonfiction to address a real injustice. Within Argentine cinema specifically, it joins a long lineage of politically committed documentary stretching from the militant tradition of the 1960s–70s (Fernando Solanas and Octavio Getino's La hora de los hornos) through contemporary work on memory, dictatorship, and dispossession. The Indigenous land-conflict subject also connects it to a broader hemispheric current of films centering First Nations and Native struggles against settler and corporate appropriation.

Authorship & method

The decisive authorial fact is Martel herself. Across four fiction features over roughly two decades, she built one of modern cinema's most identifiable signatures: a cinema of the senses and of social unease, set in or around her native Salta and the Argentine northwest, attentive to class, race, the body, and the things provincial society refuses to see. Our Land extends her career-long preoccupation with the colonial and racial substrate of Argentine life — the theme that Zama, her adaptation of Antonio di Benedetto, made explicit by going back to the colonial period itself. The documentary can be read as the contemporary, evidentiary counterpart to Zama's historical meditation on colonial power and Indigenous erasure.

Her method here is, by necessity, collaborative with the community whose case she documents; the film's reliance on "the voices and photographs of the community" implies a working relationship with the people of Chuschagasta rather than an extractive outsider's account. On craft collaborators — cinematographer, editor, sound team, and any composer — I can name her past partners (e.g., DP Rui Poças on Zama, sound designer Guido Berenblum on earlier features) but cannot reliably confirm who worked on this specific film, and I decline to invent attributions. The honest statement is that sound authorship is unmistakably Martel's domain, while the remaining craft credits should be read from the film itself.

Movement / national cinema

Martel is the most internationally esteemed figure of the New Argentine Cinema (Nuevo Cine Argentino) that emerged around the turn of the millennium, alongside directors such as Pablo Trapero, Lucrecia Martel's contemporaries in a movement defined by low-budget independence, observational realism, and a turn away from the allegorical and theatrical modes of earlier Argentine film. La Ciénaga (2001) is often cited as a founding work of that movement. Our Land belongs to the mature, internationalized phase of that cinema, in which its leading auteurs command global festival platforms and co-production resources. By rooting the film in Tucumán and the Diaguita community, Martel also locates it within a specifically northwestern, provincial Argentine cinema attentive to a region historically marginalized within the nation's Buenos Aires–centric self-image.

Era / period

The film is a product of the late 2010s–2020s, a period in which documentary increasingly incorporates witness-shot digital video and in which Indigenous land rights, extractivism, and state impunity have become central subjects of socially engaged filmmaking across the Americas. It also belongs to a moment of reckoning with historical and ongoing colonial violence, and to a media environment in which recorded evidence of killings circulates widely yet often fails to produce accountability — a gap the film's nine-years-to-trial structure makes painfully concrete. Within Martel's own chronology it marks her late-career turn, the post-Zama phase in which she moved from fiction's oblique allegories of colonial power to the direct documentation of a contemporary colonial crime.

Themes

The film's governing theme is land — its ownership, its theft, and the violence that enforces dispossession. Around this it gathers: colonialism as an unfinished, present-tense process rather than a closed historical chapter; impunity and the slowness of justice (the nine years, the free killers) as themselves forms of structural violence; Indigenous self-representation and the authority of community voice and image against the official record; and the evidentiary power and limits of the recorded image — a murder captured on video that still did not compel timely justice. These concerns are continuous with Martel's fiction, where the unseen labor and dispossession of Indigenous and servant figures haunt the edges of bourgeois life; here that submerged content moves to the center and is named directly. The film also meditates on memory and witness: the community's photographs and testimony constitute a counter-history set against the long erasure that made Chocobar's killing thinkable to his killers.

Reception, canon & influence

Influences on the film (backward). Our Land draws on the Argentine and broader Latin American tradition of militant and investigative documentary, and on the global practice of evidentiary cinema built from witness footage. Within Martel's own corpus, it is the documentary fulfillment of preoccupations developed across La Ciénaga, The Headless Woman — itself a film about a possible killing and the class machinery of denial and impunity — and Zama's historical anatomy of colonialism. The decision to organize a film around a recorded act of violence and a delayed trial places it in dialogue with international documentaries that interrogate impunity through archive and testimony.

Critical reception. Given Martel's stature, the film could be expected to draw substantial festival and critical attention, with discussion likely centered on her shift to nonfiction, her handling of the killing video, and the ethics and politics of the project. However, I cannot in good conscience report specific reviews, ratings, awards, or box-office figures for so recent a film without risking invention; the honest position is that detailed reception data is not reliably available to me and should be gathered from the film's actual press and festival record.

Legacy and influence (forward). It is too early to assess what Our Land will shape. Its plausible significance lies in lending a globally recognized auteur's authority to the Chuschagasta community's struggle and to the broader cause of Indigenous land rights in Argentina, and in modeling how a fiction master can convert a documented atrocity into rigorous, non-exploitative nonfiction. Whether it becomes a reference point for Latin American political documentary, as Martel's fiction became for the New Argentine Cinema, remains to be seen and should not be asserted in advance. What can be said is that the film consolidates the through-line of Martel's authorship — the insistence that Argentina's present is built on a colonial violence it prefers not to look at — and turns that insistence, for the first time, onto a real name, a real death, and a real demand for justice.