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According to a 1956 novel by Antonio di Benedetto, the new film "Zama" by Argentine director and screenwriter Lucrecia Martel is the surreal nightmare of an official who perished in a South American colony. There is absolutely nothing like it in the cinema this year, which is both a compliment and an early warning. [Cinéma]
Zama – Summary of the short film
We meet Don Diego de Zama (Daniel Gimenez-Cacho), staring at the open sea in all its imperialist splendor, tricorne hat, red cloak and sturdy boots. This man is thirsty for escape. Zama is an official of the Spanish crown in the 18th century in Paraguay, where he is more or less condemned to rot. He wants to be transferred, but he has nothing to say. To add to his frustration, the wife of an official (a great Lola Duenas) rejects his advances.
Even natives who mistreat, rape and enslave Zama and her compatriots find ways to irritate her. When he secretly looks at villagers taking a bath of mud, he is hunted and insulted. He slaps one of the women, a last pitiful attempt to regain the sense of power. When a local tells him a strange story of a fish in the sea, swimming his life along the shores, because the water does not want it, it's clear: the metaphor's Applies to colonialism and, of course, to Zama. As the film progresses and sets off in search of a mysterious bandit, his little life continues to deteriorate.
Zama – The Critic
"Zama" is not a conventional historical drama with a coherent screenplay, but like Zama himself a film in a kind of dreamy limb that looks like an eternity. When asked at one point how long he is stuck in this damn outpost, he only says "very long".
The drama is mainly in front of the great Mexican actor Gimenez-Cacho, who is full-time. pbades a silent state of anxiety. He was compared to the adventurers of "Aguirre, Werner Herzog's anger of God" and "Fitzcarraldo" by critics, and it is easy to understand why: Zama is not as open as the invaders Klaus Kinski, but he must also declare colonialism a failure
With each image, the Portuguese director of photography Rui Pocas undermines the authority of Zama by filming the ruthless and often staggering jungle around the miserable man and making a trivial figure. But even if the mood is very dark, a sense of dry humor helps maintain a cheerful tone. A friendly lama walks behind Zama as he learns that his rival is eligible for promotion. The entertainment is accompanied by the creaking of a manual fan powered by a silent black slave.
These are just some of the exciting scenes from Lucrecia Martel's new dream of a film based on the novel of his compatriot Antonio di Benedetto of the Year 1956 based. Nearly a decade has pbaded since the Argentinean screenwriter and director directed a film, most recently "The Woman Without a Head" (2008), and she spent a lot of time developing this film. idiosyncratic adaptation of the novel. Sixteen production companies from eight different countries participated in "Zama", which included the famous Spanish director Pedro Almodovar and his brother Agustin.
It was worth it. Similar to Zama, as a spectator you are rocked in a state of resignation during the film, but even then you still think of this wonder when you have already left the cinema.
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