玛尔塔·罗德古兹和豪尔赫·席尔瓦电影的主要主题是哥伦比亚农民和土著人民长达数百年的压迫，以及他们同样长期的抵抗。虽然早期的电影用马克思主义的词汇来分析这些情况，但本土的宇宙观在后来的作品中变得越来越有影响力。这一澄清过程的结果——如果没有Coconuco当地农民的积极参与，是不可想象的——是Nuestra Voz de Tierra，Memoria y Futuro，其图像不再作为目击证人叙述的论证证据，而是形成了一个紧密编织的标志系统：景观中的沟壑，ANI的背面马尔斯，纪念碑的姿态，人们的神话和面具，以及将乐器带到生活中的呼吸。“我们的电影院也必须是美丽的，尽可能的美丽，”1982年在论坛上首次放映时，纽埃斯特拉·沃兹·德·蒂埃拉的豪尔奇·席尔瓦说。这部数字复原片是为了纪念拉丁美洲政治电影的一部重要作品，它没有将本土文化与现代性相提并论，而是将其视为一种反抗的美学。 The dominant subject of the films of Marta Rodríguez and Jorge Silva is the centuries-long oppression of farmers and indigenous peoples in Colombia, and their equally long resistance. While the early films analysed these conditions using a vocabulary informed by Marxism, indigenous cosmogony became more and more influential in their later work. The result of this clarification process – unthinkable without the critical participation of the indigenous farmers of Coconuco – is Nuestra voz de tierra, memoria y futuro, whose images no longer function as argumentative proof for eyewitness accounts, but rather form a tightly woven system of signs: furrows in the landscape, the backs of animals, the gestures of monuments, the myths and masks of the people and the breath that brings musical instruments to life. “Our cinema must also be beautiful, as beautiful as possible,” noted Jorge Silva of Nuestra voz de tierra when it first screened at the Forum in 1982. This digital restoration honours an important work of Latin American political cinema, one that doesn’t posit indigenous culture in romantic contrast to modernity, but rather recognizes in it an aesthetic of resistance.