Sensory aesthetics and politics in Lucrecia Martel: haptic dialogue between cinema and arts

Abstract

This article analyzes Lucrecia Martel’s filmography - from the "Salta Trilogy" to the documentary Nuestra tierra (2025) - as a technology of political re-sensitization. Through a qualitative methodology based on haptic visuality (Marks) and acousmatic listening (Chion), it is argued that her cinema dismantles the sensory hierarchies of patriarchal and colonial ocularcentrism. The study examines how blur, texture, and immersive sound design are not mere aestheticisms but tools that redistribute the sensible (Rancière). Finally, an interdisciplinary dialogue with Carlos Saura’s cinema and visual arts (Ernesto Neto, Ana Mendieta, Graciela Sacco) is proposed to demonstrate how Martel transitions from a poetics of intimacy toward a forensic aesthetic of territorial restitution.