Wire report
Landmarks review – Lucrecia Martel’s beautiful account of an Indigenous murder case
Martel’s documentary about the shooting of Javier Chocobar is a mannered and dignified work, laden with post-colonial tension and the weight of institutions The great doyenne of Argentine cinema, writer-director Lucrecia Martel (La Ciénaga, The Holy Girl, The Headless Woman), ventures into documentary to cover a murder trial, the issues of which spill out into very Martelian areas of concern: land and terrain as an active force in people’s lives, the tension between Indigenous people and the descendants of colonists, the legacy of weighty institutions (the law, the church) on everyday people. Like Martel’s fictional features, Landmarks unfolds in stately fashion, and features the sort of editing that lingers on the face of a speaker holding forth, or follows a cleaner polishing furniture and a clerk distributing dainty cups of coffee to the authorities as the arguments drag on. Martel ex
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Martel’s documentary about the shooting of Javier Chocobar is a mannered and dignified work, laden with post-colonial tension and the weight of institutions The great doyenne of Argentine cinema, writer-director Lucrecia Martel (La Ciénaga, The Holy Girl, The Headless Woman), ventures into documentary to cover a murder trial, the issues of which spill out into very Martelian areas of concern: land and terrain as an active force in people’s lives, the tension between Indigenous people and the descendants of colonists, the legacy of weighty institutions (the law, the church) on everyday people. Like Martel’s fictional features, Landmarks unfolds in stately fashion, and features the sort of editing that lingers on the face of a speaker holding forth, or follows a cleaner polishing furniture and a clerk distributing dainty cups of coffee to the authorities as the arguments drag on. Martel ex
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According to The Guardian’s linked item, Landmarks review – Lucrecia Martel’s beautiful account of an Indigenous murder case, Martel’s documentary about the shooting of Javier Chocobar is a mannered and dignified work, laden with post-colonial tension and the weight of institutions The great doyenne of Argentine cinema, writer-director Lucrecia Martel (La Ciénaga, The Holy Girl, The Headless Woman), ventures into documentary to cover a murder trial, the issues of which spill out into very Martelian areas of concern: land and terrain as an active force in people’s lives, the tension between Indigenous people and the descendants of colonists, the legacy of weighty institutions (the law, the church) on everyday people. Like Martel’s fictional features, Landmarks unfolds in stately fashion, and features the sort of editing that lingers on the face of a speaker holding forth, or follows a cleaner polishing furniture and a clerk distributing dainty cups of coffee to the authorities as the arguments drag on. Martel ex
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The development sits in VINI’s Culture coverage for readers following arts, entertainment, fashion, film, music, celebrity, and the business of culture. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The linked item is dated 2026-05-26T06:00:48+00:00.
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Primary source: Landmarks review – Lucrecia Martel’s beautiful account of an Indigenous murder case via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- Landmarks review – Lucrecia Martel’s beautiful account of an Indigenous murder caseThe Guardian - 2026-05-26T06:00:48+00:00
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