Zaho Zay is as complex and richly layered as it is troubling and compelling. An Austria/France/Madagascar co-production from an Austrian male director and a French female filmmaker of Malagasy origin, this unusual hybrid is not quite doc, not quite fiction, neither shamelessly colonialist in its gaze, nor entirely free from the outsider’s POV. Taking its title from the roll call response («It’s me!») given by inmates in the real «Madagascar prison where much of the film is set, the experimental project is also less focused on the men (and, towards the end, women) behind the proverbial bars than in the visual springboard their faces and bodies provide for the daydreamy narrative (which is accompanied by a lyrical voiceover, written by a French/Malagasy writer).
Our offscreen guide is a fictional female prison guard whose father, we learn early on, murdered his own brother before abandoning her as a child. The anonymous narrator fantasizes that one day her uncle will show up among the lawbreakers she’s tasked to watch over – a fantasy that soon takes her (and us) on a journey throughout the rural countryside, trailing the wandering nameless killer and his ever-present dice, which he rolls to decide the fate of his victims. And to complicate the situation, that lethal father is played by none …
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