Set in the late 18th century, Zama (2017) is about Don Diego de Zama (Daniel Giménez Cacho), a magistrate working in a colonial outpost near the Paraguay River. The opening image sees him in a classic pose of authority, tricorne on his head, sword in his holster, gazing out at the water. The next two hours proceeds to chip away at this commanding ideal, comically exposing him as a powerless cog. When the sound of a jaunty guitar pop number is heard after the title card, there is something different about the way the film works as a period piece. Born in the Americas but a servant to the King Of Spain’s orders, Zama longs for transfer to Spain where his wife and child await as well as the promise of success. With a deadpan comic tone that surprised me, the film shows Zama to be like a frustrated middle manager, daydreaming in a corporate structure; his authority is either snubbed or overruled by his superiors (as well as subordinates), and his desires for the women around him are awkwardly expressed and continually frustrated. Adapting the novel by Antonio di Benedetto, director/writer Lucrecia Martel continually frames Zama as a visual element that is hilariously crowded or sidelined by fellow officers, countesses, servants, slaves, indigenous natives and even animals. The sound design foregrounds the environment, the way in which it intrudes upon this attempt at order and rule. As the years pass, the mocking of Zama gives way to the tragedy of the character, particularly during a poorly-planned expedition to hunt a nefarious bandit that recalls the madness of Aguirre, Wrath Of God. Cacho gives a great performance where more is read from his pained expressions than what he says. A strange, funny and alert film, I look forward to tracking down more of Martel’s previous work. Zama is available to stream on Kanopy. Recommended.