The novel was a subjective-ish story of frustration and embarrassment, and the movie is a whole different thing – some of the same scenes in the same order, but more mysterious. It’s unusual anymore that I read a book in anticipation of a new movie coming out, so it’s hard to imagine what the viewing experience would’ve been like had I not already known the story. For instance, the three sections of the book are set in different years, clearly stated, where the movie will just cut to the next scene and suddenly Zama’s hairstyle is different and every other character we’d met is gone, replaced with a new cast.
As usual for Martel, the framing is enticingly unusual, but I was not prepared for the shock of saturated color in the last section. Each of her features has had a different cinematographer – Rui Poças is Portuguese, has also shot a bunch of films by Miguel Gomes (Tabu) and João Pedro Rodrigues (The Ornithologist). Almodóvar regular Lola Dueñas is Luciana, whose affair doesn’t go as far as in the book. Zama is Daniel Giménez Cacho, who apparently played the same coroner character in We Are What We Are as he did in Cronos.