Zama

The costumes, cinematography, etc do create a self-contained but claustrophobia-inducing world. The random sounds, strange glances, etc make one wonder if it is all just some inside joke in a pointless world. And, so much attention is on the insecure zama & the supercilious governor that there isn't even any real exploration of day-to-day life.

All in all, one of the strangest films ever.

Poor Don Diego de Gama. Both parents Spanish, but he's never been to Spain, as he is frequently snobbily reminded by the Spanish-born residents in his 1790s Argentina back country town. He's a bureacrat serving a king 6000 miles away, unable to decide anything by himself, a fish in water (in a ruling metaphor) who can't live in a wet place. He wants to leave but can't, because everything is on hold. Will a military expedition bail him out? Bitterly totally ironic, structured around off camera sounds that are never what hearers think they are. I'm now hunting down the 1956 novel by Antonio_di_Benedetto.

I read several good reviews about Zama, including some friends recommended me as an excellent movie, however, I only found imperfections, a boring movie for almost two hours and nothings happens, unlikely what looks like a great production it ends on an amount of resources without taking advantage. Too many mistakes, particularly with the spelling, why the natives do not have any accent? or even "the colonial" does not speak proper, poor conversations, bad timing, many mistakes from art department, fake and poor costume design, the director does not take advantage of the beautiful environment, even the sound is bad... just a few fake birds, in the beginning, the acting of Lola Dueñas was good, the rest of the cast does not shine at all, especially Juan Minujin so sad acting, when he speaks you cant understand what is he saying!

For a long time did not saw people leaving the cinema complaining... Such a shame Lucrecia Martel used a masterpiece novel from Antonio Di Benedetto, and made this meaningless and snob movie.

Absorbing and deeply unsettling, I enjoyed this movie but found it difficult to follow. Having not read the novel and being unfamiliar with Spanish colonial history, there was probably quite a bit I missed due to lack of education on the subject. However, I came out of the theater feeling as though I was covered in a deep tropical sweat. Like The Witch (2015), it immediately places the viewer in the film. Zama is accurate in its slow pace as a period drama on a tropical island during a time when letters from Spain took FULL YEARS to reach the colonies, and these days standard viewers may have trouble maintaining focus on the travails of one man's experience for almost 2 hours. Bursts of action actually woke older people up in the audience of the theater where I viewed it. Zama was marketed to U.S. audiences with a quickly-edited, intense trailer that had me itching to see it, while the film itself seems to have left more people scratching their heads. I'm looking forward to a second viewing, though preferably not on another humid, ninety-degree day.

The radiant colors of fire sparks in the night, shocking pink native dyes and lush green moss, and oscillating cascades of sound including exotic guitar, electronic interludes and soothing lapping waves, these and other rich innovations bring extra zip to the already thrilling story of Don Diego de Zama. Zama, a Spanish administrator in 1700s South America, refuses to adjust to his surroundings and instead pines for the continent and habits he left long ago. As his expected transfer to Spain hangs in limbo, Zama's paranoia about the dangers of the local landscape and hostility towards those of different races, increases. He lives in a bubble of his own creation. Yet if the sulking and morose Zama will not visit the pulsing and vibrant new landscape around him, it will visit him.

Director Lucrecia Martel deftly makes the audience part of the story. The scenes she provides are rich and dazzling in a variety of ways; color, sound, wildlife, clothing, furnishings, evident historical research, insight into human nature, brilliant acting and more. Her portrayal is wonderfully balanced. Martel does not glorify the past, nor does she skewer it. Pristine and beautiful scenery of lakes, rivers and forests are offset by glimpses of the morgue with its cholera and plague victims, the cruel and routine punishments and torture implements of the time and whirling ceiling fans that remind you of what the tropics without air conditioning must feel like. Martel's sensitivity and depth of feeling is astounding. The film audience, for example, is not provided with subtitles of native languages. "We deserve to not understand what the natives are talking about," said Martel who was at this Toronto International Film Festival screening. "History taught around the world is mostly about the colonizers." In one scene there are three sisters who revolve around a central point in a room, and Martel wants it to seem like they are part of a miniature music box. Such wonderful little touches. The film is spiced with brilliant lines throughout. "Europe is best remembered by those who were never there," for instance, and "nighttime is safer for the blind." The film is based on a novel by Antonio Di Benedetto.