Lucrecia Martel’s beguilingly sensuous dramas have depicted her country’s class and racial fissures in numerous ways, whether historically ( Zama ), psychologically ( The Headless Woman ), or in the form of a summer vacation flick ( La Ciénaga ) so languid and sultry, you could almost feel the sweat dripping off the celluloid.

But the gifted Argentinian auteur has never tackled the issue as directly as in Landmarks ( Nuestra Tierra ), a searing and detailed chronicle of murder, bigotry and robbery on a massive scale that also marks the director’s first feature-length documentary.

Lucrecia Martel’s beguilingly sensuous dramas have depicted her country’s class and racial fissures in numerous ways, whether historically ( Zama ), psychologically ( The Headless Woman ), or i

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