Valley of Tears 2003

In Texas' Raymondville, Hart Perry captures three decades of social change as he chronicles the struggles and triumphs of Latino laborers demanding fair wages and fighting for representation in local government. From onion pickers' strikes to school board elections and a DA campaign, this documentary reveals the relentless pursuit of equality and justice in the face of adversity.

In Texas' Raymondville, Hart Perry captures three decades of social change as he chronicles the struggles and triumphs of Latino laborers demanding fair wages and fighting for representation in local government. From onion pickers' strikes to school board elections and a DA campaign, this documentary reveals the relentless pursuit of equality and justice in the face of adversity.

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Valley of Tears does not have end credit scenes.

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Metacritic

68

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%

TOMATOMETER

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IMDb

8.0 /10

IMDb Rating

TMDB

57

%

User Score

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Plot Summary

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Focusing on the small agricultural town of Raymondville in South Texas, former Barbara Kopple cinematographer Hart Perry meticulously captures the evolving struggles of race relations across the 1970s, 1980s, and 1990s. He chronicles three distinct confrontations between the local power elite Anglo farmers and the Hispanic farm workers.

In the late 1970s, the film vividly presents the Texas Farm Workers strike of 1979, intertwining archival footage that exposes the violent racism from the early days of South Texas settlement with striking action sequences. These scenes depict the intense clashes between migrant workers, labor organizers, and local growers, providing a crucial perspective on the contentious harvesting of the onion crop. The documentary showcases the farm workers’ determined protests against the growers’ efforts to suppress the strike, highlighting the law enforcement’s complicity in the ongoing struggle for rights and dignity.

Transitioning into the film’s second section, the narrative shifts to the Hispanic community’s fervent campaign to elect representatives to the local school board. This segment reveals the ugly backlash from the incumbent administration, shedding light on the broader societal tensions at play.

The final part of the film centers on the 1990s political landscape, focusing on Juan Guerra, a reform-minded leader who emerges as a key figure in tackling the entrenched racism within the local business and political realms. Guerra’s journey begins with his establishment of a school designed for students expelled from Raymondville schools, ultimately leading him to a successful election as the county district attorney. Throughout, the voices of the 1979 strike organizers echo, reflecting on the profound changes they initiated.

In a poignant conclusion, Guerra, who remains the DA as of 2003, reflects on the difficult progress made, asserting that if corruption still persists within the community, it is now the Hispanic community’s fault. The film serves as both a historical record and a commentary on the ongoing challenges faced by marginalized communities.

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