Italian-Paraguayan filmmaker Anna Recalde Miranda (Power and Impotence, a Drama in 3 Acts, The Flesh and the Granite) has spent 15 years traveling to and from Paraguay to document the struggle of its people to recover what they lost after decades under a paramilitary dictatorship, including land rights. They haven't had a lot of luck.
In her narration, combined with archival footage and personal artifacts, she traces the elections, shootings, violent encounters, attempted coups, and impeachments that have defined Paraguay since the 1950s. In his day, her grandfather, union organizer Rufino Recalde Milesi, tried to make a difference as Paraguay's first socialist deputy.
During the second half of the 20th century, citizens were kept in the dark about what was going on behind the scenes. That changed in 1992 when Martín Almada, the lawyer and activist Miranda first profiled in 2010's The Land of No Evil, discovered the Archives of Terror. When speaking to the press at the time, Almada–who had been tortured for three years–was so overcome, he broke down, stating, "I weep with tears for the democracy that's on its way." Unfortunately, reformist President Fernando Lugo, who was elected in 2008, would be impeached and removed four years later.
Recalde Miranda also speaks with Miguel Ángel, Lugo's Minister of the Presidency, and American, French, and Brazilian journalists Paul Z. Simons (who died shortly after she spoke with him), Pierre Abramovici, Julia Giménez, and Bruno Bassi.
Like Almada, Simons found the Archives overwhelming, because many of the people General Stroessner's government targeted were kidnapped, tortured, and killed. Almada and Ángel maintain their own archives as a form of protection. They also list ways the United States encouraged dictatorial rule throughout South America through Operation Condor.
As a result, campesinos or peasant farmers in Paraguay, Brazil, and other countries have found it impossible to recover their property, most of which is dedicated--often fraudulently--to global, pesticide-friendly agribusiness. They're treated the same way now that communists were treated in the 1970s with protesters risking eviction, illegal detention, imprisonment, and worse, even though Paraguay's Constitution guarantees agrarian reform for indigenous and peasant people.
At the film's conclusion, Recalde Miranda regrets that she isn't able to end on an optimistic note, as much as she would like to. Green Is the New Red, her fifth documentary, is eye opening and inventively shot by cinematographer Nicola Grignani. There are also grace notes, like a sequence in which journalist Giménez's tabby is blissfully stretched out on her desk.
Though the film depicts a scenario that has only grown worse with time, more awareness is a step in the right direction. As Recalde Miranda said about her subjects in a 2024 interview, "Their strength and courage are the best part of humanity!"
Recommended, especially for those who already have some knowledge of South American history, since peasant farmers, indigenous people, and human rights activists in neighboring countries have experienced many of the same deprivations.
Which library audiences should see Green Is the New Red?
This documentary would be a strong fit for public and academic libraries that support collections focused on global politics, human rights, and South American history. It is especially well suited for patrons who already have some knowledge of the region, as the film moves through decades of political upheaval and assumes a certain level of familiarity with the broader historical context. Libraries that serve internationally minded audiences or those interested in investigative and advocacy-driven documentaries will find it particularly valuable. It could also work well for film clubs or discussion groups interested in political documentaries, as the film’s layered structure, use of archival material, and personal narration provide ample material for conversation. While it may be heavier and more complex than general-interest documentaries, it will resonate with viewers seeking deeper engagement with issues of land rights, dictatorship, and the lasting effects of state violence.
Is this documentary a good choice for film clubs or discussion-based programming?
Yes, particularly for film clubs focused on political cinema, global affairs, or human rights. Green Is the New Red offers a dense and thought-provoking viewing experience that lends itself well to post-screening discussion. The film’s combination of personal narrative, archival footage, and interviews with journalists and political figures creates multiple entry points for conversation, from the legacy of Operation Condor to the ongoing struggles of campesinos and indigenous communities. Its lack of a traditionally optimistic conclusion may actually strengthen its usefulness in a discussion setting, encouraging audiences to reflect on unresolved issues and contemporary parallels. Libraries and cultural organizations could pair the film with talks, panels, or reading lists on South American history, agrarian reform, or investigative journalism to deepen engagement and provide additional context.