That was true for the film in which it was spoke (The Rules of the Game) and remains true to this day, especially as the US/Mexico border is being ripped apart by Cartels, gangs, mafia and corrupt government officials. Cartel Land director Matthew Heinman doesn’t need to give statistics, facts or talking points, he just needs to let his subjects speak their reasons, and boy do they have plenty of them.
What Heinman offers is an infuriating struggle between communities, criminals and vigilantes, all trying to make ends meet while trying to make sense of a maddening situation. Heinman focuses on three main subjects: Dr. Jose Mireles, a small town physician and head of the Autodefensas in Michoacán, Mexico; Tim “Nailer” Foley, an American volunteer for Arizona’s Border patrol; and Papa Smurf, Mireles’s second-in-command making his move from the Autodefensa to a government agency.
Heinman allows these men to speak their mind — which often damns them in one form or another — but shows that their opinions are based not on esoteric facts or political sound bites but real world experiences. Of the three, Mireles is most easily identifiable as a hero — though he has his own sets of personal issues — as the community doctor trying to rally the people to defend themselves. Foley comes off as the most insensitive, essentially taking the law into his own hands to settle past vendettas, yet he is merely a product of his past as certain sympathies become clear. Papa Smurf, on the other hand, is the problem incarnate, shifting from side to side, no better than the criminal he is currently hunting, only to become a legitimized form of that criminal.
Cartel Land won both the directing and cinematography awards for US Documentary at this past Sundance Film Festival, and both are rightly deserved for Heinman’s frontline reporting. There is the occasional tinge of bias in the way Heinman presents these people and their stories, but there isn’t a moment where he flinches, even in the face of a cartel firefight.
Cartel Land opens with a group of Mexican meth cooks talking candidly — their faces covered by masks — to Heinman’s camera. These cooks explaining what they do and how they do it, setting the viewer up and explaining that the drugs provide money to buy weapons which are then used to fight for the drugs. Heinman spends the next 90 minutes delving into what is at stake on both sides of the border, only to return to these cooks, even recycling footage and a few lines from the opening to hammer his point home. Now we know who is under that mask, and the real problem finally comes into razor sharp focus.