Our Land

A documentary set in Tucumán in northern Argentina. In 2009 a dispute over land ends with a gun. Javier Chocobar of the Chuschagasta indigenous community is killed. The event was recorded. The community was filming that day and the moment of the shooting is on the footage. The case runs for nine years. The other side argues that the land is theirs, and the question of title settles at the centre of the court. From there the documentary moves in two directions. Records of the trial on one side, the history of the land itself on the other. The deeds go back a hundred years. The narrative looks at the colonial period, at the republic, and at the distribution of land; the documents are shown one by one. The question is how ownership was established. Who came first, who kept the records, and who wrote them. What the narrative is interested in is not the killing but the law: while describing a death the film really shows how a legal system was built and in whose favour it works. The recording is the axis. The same footage is both the community's evidence and a matter of dispute in court, and the film shows it repeatedly in different contexts. The form is unusual. The director carries over the sound design known from her fiction films; there is a constant hum in the background and the speech is often cut. This is Lucrecia Martel's first documentary and her first feature since 2017. The production spread over fourteen years. The film had its world premiere at Venice in 2025 and won best film at the London Film Festival; it opened in Argentina in March 2026. Lucrecia Martel directed. Who it is for: anyone interested in political documentary and the question of land in Latin America. Who it is not for: anyone expecting plain exposition; the film proceeds through a mass of documents and is hard to follow without the context.