French filmmaker and ethnographer Pierre-Dominique Gaisseau’s unfinished portrait of the Kuna people becomes the scene of a postcolonial autopsy in Andrés Peyrot’s absorbing documentary God Is a Woman. Peyrot’s film follows the contemporary interventions of Kuna elders and intellectuals such as poet and professor Arysteides Turpana and filmmaker Orgun Wagua, who seek to restore, contextualize, and screen Gaisseau’s footage to the community whose images were distorted and plundered for Western consumption in the original, unreleased documentary.