The popularity of films and TV shows like Narcos can be partially attributed to the authors, either consciously or unconsciously, portraying Southern American countries as hopeless hellholes drenched in corruption and drug-related violence, solely for the purpose of making the United States and other First World countries appear better in comparison. This impression is sometimes difficult to avoid, even when the authors intended to have their hearts in the right place, as demonstrated by Matthew Heineman in his 2015 documentary Cartel Land.
The film deals with the rising power of drug cartels in Mexico and the escalating violence that results from their territorial conflicts, further fuelled by the Mexican government's failure to address the issue. Cartel Land follows two distinct groups of citizens from both sides of the US-Mexican border who take matters into their own hands and confront the cartels as paramilitary vigilantes. On the US side of the border, the Arizona Border Recon, founded by former US Army veteran Tim “Nailer” Foley, patrols the border with Mexico, attempting to prevent drug smuggling into the USA. In Michoacan, Mexico, the local population forms a group in response to the kidnappings, extortions, and murders perpetrated by the Knights Templar Cartel. The charismatic leader, former physician José Manuel Mireles Valverde, organizes the locals into an armed militia that targets the cartel. Despite the government's efforts to disarm the militia, the campaign appears to be succeeding. However, Mireles begins to question whether his organization can survive internal dissent and the lure of corruption, as some members allegedly participate in the drug trade and become new cartel.
Cartel Land is a dark film, and its message of the apparent futility of the War on Drugs, whether conducted by the US or Mexican government, is conveyed through the framing sequence of masked criminals cooking methamphetamine and admitting that their actions are wrong. Regardless of the risks and moral implications, this activity remains the only way out of poverty for too many people. The film suggests that any attempt to stop the flow of drugs to the USA or curb the violence within Mexico is doomed to fail from the start.
Heineman paints a grim picture when describing cartel violence in Michoacan, depicting entire families being massacred. One of the indirect victims of this violence is Mireles, a larger-than-life figure whose family members were also killed. He gave unprecedented access to Heineman and his crew, allowing them to record his activities and those scenes provide a fascinating portrait of a charismatic, yet flawed man. Heineman even records his followers engaged in street battles, with these scenes, despite being actual documentary footage, at times appearing to belong in an action film.
Unfortunately, Cartel Land loses much of its pace and impact due to a dubious decision to depict not only Mireles and his militia but also Foley as his counterpart. The segment set in the US is interesting, but it doesn't actually belong in this film because the two men and their organizations have little in common. Compared to the actual battles the Mexican militia faces, Foley's men have an easier time and sometimes give the impression of glorified LARPers rather than people involved in a life-or-death struggle. It is difficult to avoid the impression that it has less to do with Foley and his organization and more to do with the United States, which, at least for the time being, appears less dysfunctional and violent than its southern neighbour.
Cartel Land, despite its flaws, is an interesting and thought-provoking film that challenges viewers to contemplate the issues of the War on Drugs, organized crime, and vigilantism.
RATING: 6/10 (++)
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