Lucrecia Martel’s Zama is a unique film about the existential dilemma of a Spanish civil servant trapped in 18th century South America, blending bureaucratic absurdity and colonial decay. Based on Antonio di Benedetto’s novel of the same name, Martel’s characteristic minimalist style draws the viewer into a slow but deep psychological thriller.
The film centers on the static frustration of Don Diego de Zama (Daniel Giménez Cacho) while serving on behalf of the Crown in a remote colonial town. Waiting for a promotion, only to be met with systematic indifference, Zama’s despair emphasizes the absurdity of colonialism’s functioning and man’s helplessness in the face of fate. Martel treats the theme of waiting with an ambiguity close to Kafka’s The Trial: Zama is neither a victim nor an active protagonist, but an anti-hero trapped by time and geography.
Martel’s direction is the strongest element in building the film’s atmosphere. The camera’s distant stance, constantly following Zama, reflects the character’s loneliness and disconnection from the world around him. The minimalist soundtrack, in which natural sounds (insect buzzing, wind, water drops) stand out, evokes tropical gloom, while the pale tones in the color palette reinforce the dullness of Zama’s inner world.
The stillness and time jumps in the cinematography make the viewer a partner in Zama’s perception of time. As the tension builds, especially in the second half of the film, Martel does not “show” anything explicitly; even the violence and sexuality are completed behind the curtain, in the viewer’s mind.
Daniel Giménez Cacho is perfectly introverted as Zama. The uneasiness in his eyes and the tension in his body language betray the character’s authority, which is gradually eroding despite his arrogance. While the side characters (e.g. Leni and Luciana) symbolize Zama’s impotence in his relationship with women, the “invisible” presence of the indigenous people in the film reminds us of the behind-the-scenes of the colonial order.
The weak points of the movie for me are that it deliberately moves slowly. Although this reflects Zama’s state of mind, it can try the viewer’s patience. Also, the ambiguity of the historical context is a negative aspect. Martel’s criticism of colonialism is indirect. It may not be satisfying for viewers interested in historical details.
Final note: A masterpiece for fans of Tarkovsky and Albert Camus; a test for those who like fast-paced cinema.
Score: ★★★★☆ (4/5)