Landmark Reviews – Lucrecia Martel’s beautiful story of the murder of civilians | Video

Tthe great director of Argentine cinema, writer-director Lucrecia Martel (La Ciénaga, The Holy Girl, The Headless Woman), entered the document to explain the case of murder, which spreads to the areas that are most affected by Martelian: places and regions as a force to work in people’s lives, conflicts between religious colonialism, criminal organizations, criminal organizations and churches. on people every day.

Like Martel’s fiction, Landmark Writings is vivid, with cutscenes that focus on the narrator’s face, or follow cleaning chairs and a clerk handing out delicious cups of coffee to officials as the conflict rages on. Martel explores the poetic side of drone technology, giving the viewer a better understanding of the landscape and creating disturbing, confusing ways in which we see goats and people walking through mountain paths upside down, creating what appears to be an abstract landscape of green colors. It is very beautiful – if sometimes very touching.

The story at the heart of the story concerns the killing of 68-year-old Javier Chocobar – a member of the Chuchagasta tribe – in the northwestern province of Tucumán, Argentina. An unarmed Chocobar was killed in a major crisis when he and other Chuchagasta members encountered three men, one of whom claimed he had the right to dig the site. (The other two were ex-cops who were found to have three guns on them.) The attack was filmed by the perpetrators; although the actual shooting takes place on camera, Martel incorporates the footage into his film, a static, piece-like look with elevated drone footage.

But Martel’s concerns, apparently, are not limited to beauty. People are at the center of the story, and we learn a lot about Chocobar, his wife, his family and the Chuchagastas then and now. Worryingly, we learn how the authorities and landowners tried to wipe them out, saying that they died in the early 19th century, meaning that the people we meet are not their descendants. Obviously, they object to that – and Martel allows them to make their case in an irreverent way, without allowing the film to become a fantasy.