Zama

A delightfully subversive bit of historical chicanery.

Franz Kafka by way of Werner Herzog.

Darkly humorous fever-dream. Daniel Gimenez Cacho is perfect, his face is just right for this role. Really wish I'd seen it in theaters, to fully enjoy the sound and visual work. Hopefully I get the chance later on. That scene with the llama is just incredible. Last 30 minutes get pretty wild. Look forward to rewatching after reading the book.

The historical depiction is impressive, the simple life, the daily struggle, a very different society from a very different moment in time. It's the life of a man that never really gets what he wanted.

Kolonyalizm eleştirisi yapan bir dönem filmi değil sadece; sınırların, hem içine dahil edilenler hem dışarıda bırakılanlar açısından çok keskin çizildiği bir dönemde iktidarın gözündeki konumundan emin olamayan bir americano'nun yaşadığı kimlik çözülmesinin hikayesi. Martel bu çözülmeyi ve ona eşlik eden hakikat kaybını aktarmak için muğlaklığın, ara hallerin, duraksamaların, çoğalan seslerin ve kayan perukların nimetlerinden çok iyi yararlanmış.

Martel manages to incorporate something akin to absurdity in this otherwise bracing portrait of a forgotten man. Zama's situation sees him as a part of the machine, a "functionary" of the king, as he is called multiple times in the film. But he hardly functions at all as he awaits his greatest hope to be fulfilled--a reunion with his wife and children. Everything in Martel's world is a little off--wigs not quite right. And Zama in her frame is consistently constricted by all manner of things.

görsel işitsel numaralarını hikayeyi parlatmak için kullanması baştan sona var olan rüyavâri hissiyatı yaratmanın ötesinde, hikaye anlatma heveskarlığını göstermesi, yani anlatının ileriye yönelik bir ivmesi olduğunu göstermesini kendimce not etmeliyim, çünkü benzerlerinden ayıran şey bu. umursamaz gözüken mizahı ve tuhaf karakterleriyle etkisi zamanla biriken bir memnuniyet bırakıyor geriye.

Colonialist exhaustion rendered in a dryly comic fashion. Like other recent colonial themed 'art' films, Zama is more of an interesting 'experiment' than a truly great film, and there is a tendency to stop pushing ideas beyond a certain point that reveals the limits of its intellectual heritage. Zama is superior to those films (e.g. Tabu) because it tries to explore the anxieties of post-colonial identities, a tension Martel effectively evokes through an uneasy blend of image and sound.

I acknowledge that I'm in the minority, but I had a profound hatred for this film. I never really connected with what it was trying to do, and it's so frustratingly elliptical that I deeply resented it's refusal to just end and release me from my suffering.

couldn't even finish it. impossible to engage with the storyline/characters. it was a boredom fest for me.

The performance by Cacho is good and it is competently made with some Catch-22/Kafka-esque stuff that can be interesting, but I found it pretty boring. It has a few moments but just didn't hold my interest at all and felt pretentious more often than not. I can see it working really well for certain tastes, but it wasn't really for me.

The filmmaker works hard to jazz up the presentation with an unusual approach to sound, image and music, to some extent succeeding in generating a stifling atmosphere and unbearable oppression couched within an even more expansive feeling of uncanny disorientation. Despite all that, however, this viewer was not really convinced that, forty-five years after AGUIRRE: THE WRATH OF GOD, this film had very much new to say. Points for effort, and to some extent for ambition, but slightly off the mark.

Slow art-house historic dark comedy-drama.

7?

www.fallingfalling.com

Really odd and captivating

Izlemesi cok zor ama nefis bir film, uzun zamandir bu kadar 'yeni' bir sey seyretmemistim. Zorlugunun buyuk bir kismi bu yenilikten geliyor olsa da.

A no to hope.

So little of the obvious to grasp onto. Incredibly rewarding and funny.

I agree with Yiannos's review. Zama is a decent experiment with sounds and images, mimicking the disorientation and cluelessness of the colonist in a strange setting. Yet that is probably all she argues for. But didn't actually the colonist win? Isn't the one whose hands are chopped off the native? I am not sure if this is an aesthetic critique of the "colonial reason," or its acquittal by picturing it as a powerless, almost innocent loser.

I don't get it. Just what was I supposed to like here?

Tedious historical drama is a beautifully shot but essentially aimless mess; a limp cast is unable to inject much life into this terribly convoluted (and, at the finale, an unexpectedly savagely ugly) piece.

Formally always interesting, but fact is that the last 30 minutes are way better than the rest of the film -- when the film finally assumes its colonialistic kind of horror tale, with men getting crazy in the woods (Matheus is awesome), cutting Zama's hand and legs and leaving him in an Indian boat.

Cennette kafayı sıyırmak. Ama çok sıkıcı. Kurgu facia.

Anlamadım..

forte

An opaque, elliptical existentialist masterpiece which bombards the senses with its wild, colorfully terrifying, fantastical-realist vision of colonial South America. Heading a cast of beautifully drawn and brilliantly acted characters (including a plethora of animals) is D.G. Cacho's Zama, a timid, beaten dignitary forever struggling to be transferred to Lerma. Martel has found the missing link between "Aferim!", "Brazil", Herzog and Greenaway. I love this movie with a passion.

film epey kafkaesk. zama kendi satosuna ulasmaya calisirken surreale mi kayiyor hep beraber kafayi mi yiyoruz bilemedim

Filmekimi - Atlas.