The presente tesis investigates the dispute over memory and the narrative tensions surrounding state and colonial violence in South America, with a focus on South American cinema. The study zeroes in on the filmmakers Patricio Guzmán (Chile), Jonathan Perel (Argentina), Paz Encina (Paraguay), and Ana Vaz (Brazil), each employing a distinct montage strategy. Central to the analysis is the intersection of landscape and cinematic archives, exploring how the montage of these elements shapes meaning in documentaries. The hypothesis is that by putting landscape and archive in tension, the landscape itself becomes a territory, encompassing all inherent disputes. Thus, it transcends its ornamental role, transforming into a territory shaped by various processes, power struggles, and contradictory projects. Through different montage strategies, filmmakers can potentially transform the landscape into a witness of different temporalities, revealing layers of geo-history and creating heterotopias. The study adopts a qualitative approach called film archaeology, involving a comparative analysis of the documentaries through three main categories: landscape-archive, landscape-monument, and landscape-memory. The relevance of the research lies in the ongoing dispute over memory in South America, exacerbated by recent political upheavals in the region. The study aims to contribute to film studies by focusing on contemporary South American audiovisual production through the lens of memory and strengthening ties between Brazil and other countries in the region.