The following article proposes an analysis of the documentary El árbol negro (Máximo Ciambella and Damián Coluccio, 2018) based on the study of the implications of the cinematographic discourse in the processes of resistance and growing politicization of indigenous communities in Argentina. This approach is approached in the revisionist context of the historical, social, political and cultural processes of indigenous peoples that occurred during the last decades of the 20th century. The shift towards a decolonial perspective implied changes in the modes of representation of the indigenous subject. The documentary presents, from its stylistic and narrative elements, a revision of the complex -from the colonial perspective- relationship between the cosmovision and the coexistence and political principles that govern the existence of the qom communities in the province of Formosa.
The article addresses the relationship between the political agency of the qom people and its mythical elements, since the approach proposed by Diana Lenton (2010), Mariana Giordano (2008), Edgardo Cordeu (1971) Carlos Martínez Sarasola (2010) and Carlos Salamanca (2011), to recognize the ways in which audiovisual art accounts for the tensions between the dominant colonial perspective and that of the community.