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The prismatic “Landfall” and “Stateless” upend typical narratives about the triumph of the human spirit and show us the complexities at play. It is nighttime in Puerto Rico. A dembow beat, the rhythmic foundation of reggaeton, throbs, slicing into the thick air. A man glistens with sweat, an amber light bathing the droplets on his shoulders as he grinds gently against his dance partner. The crowd hollers as a beloved reggaeton anthem echoes in the distance. In the lilt of the island’s familiar accent, a voice has spoken: “I don’t want to spend my whole life fighting.” This scene arrives near the end of Cecilia Aldarondo’s documentary “Landfall.” It is a moment of everyday pleasure, but one that also contends with the psychic weight of political struggle. It captures what it means to still be coming to terms with Hurricane Maria and the 2019 uprising against government corruption. It is an image of warmth and intimacy, but one that refuses to put aside the

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