Lucrecia Martel’s Nuestra Tierra: A Haunting Confrontation with Colonial Legacy

Acclaimed Argentine filmmaker Lucrecia Martel has long been known for her distinct, atmospheric approach to cinema, with classics such as The Holy Girl, The Headless Woman, and Zama. Now, she turns her lens toward the stark realities of her homeland in her latest documentary, Nuestra Tierra (also titled Landmarks). The film serves as a harrowing, methodical examination of the 2009 murder of Javier Chocobar, an Indigenous leader from the Chuschagasta community in Argentina’s Tucumán Province.

A Case of Contested Truth

The death of 68-year-old Javier Chocobar is the focal point of the documentary, which meticulously unpacks the years of legal proceedings that followed. While the fact of Chocobar’s death is not disputed, the circumstances surrounding the incident remain a subject of intense conflict between the prosecution and the accused.

The defendants—Darío Amín, Luis Humberto Gómez, and Eduardo José Valdivieso—were captured on cell phone footage during the altercation. In their defense, they claimed to be exploring the area for access to a quarry when they were surrounded by members of the Chuschagasta community. The defendants argued they acted out of a fear for their lives, alleging they were moments from death. However, as the documentary illustrates, this narrative clashes sharply with the visual evidence, which shows a gathering of community members that appears calm and non-threatening.

Filmmaking as a Tool for Justice

Martel’s directorial debut in the documentary format is defined by a surgical, slow-burning precision. By mixing courtroom proceedings with drone footage and the raw, low-resolution cell phone clips of the incident, she creates a work that feels both like a restrained courtroom drama and a piece of found-footage horror. The film highlights the generational damage caused by colonialism and the systemic struggles faced by Indigenous communities seeking justice in a rigged legal environment.

The significant temporal gap between the 2009 killing and the 2018 trial of the suspects serves as a central theme in the film. Martel uses this delay to emphasize the broader, systemic issues within the Argentine justice system, particularly when the defendants include individuals with backgrounds as former police officers.

Key Takeaways from Nuestra Tierra

• Documentary Debut: Nuestra Tierra marks the first foray into documentary filmmaking for renowned director Lucrecia Martel.
• Focus on Justice: The film investigates the 2018 trial regarding the 2009 murder of Javier Chocobar, an Indigenous leader of the Chuschagasta community.
• Complex Narrative: Martel contrasts the defendants’ claims of self-defense against video evidence of the encounter in Tucumán Province.
• Thematic Depth: Beyond the trial itself, the film explores the persistent impact of colonial history and the barriers to legal accountability for Indigenous leaders.

Looking Forward

Nuestra Tierra stands as a bold, disturbing contribution to the true crime genre, moving beyond mere sensationalism to address the structural realities of violence against Indigenous populations. By stripping away the veneer of legal bureaucracy, Martel invites audiences to confront the uncomfortable truths of a justice system that often leaves the most vulnerable waiting years for resolution. As the film continues to reach audiences, it remains a powerful testament to the necessity of clear-eyed, courageous storytelling in the face of historical and ongoing injustice.

Frequently Asked Questions

Who was Javier Chocobar?
Javier Chocobar was a 68-year-old Indigenous leader and member of the Chuschagasta community in the Tucumán Province of Argentina.

What is the central conflict in the documentary?
The film investigates the murder of Chocobar and the subsequent 2018 trial of three men—Darío Amín, Luis Humberto Gómez, and Eduardo José Valdivieso—whose claims of self-defense are challenged by the evidence presented in the film.

How does Lucrecia Martel approach this subject matter?
Martel utilizes a mix of courtroom footage, drone shots, and original cell phone recordings to present a precise and critical look at how the justice system handles cases involving Indigenous victims and the lasting effects of colonialism.