Nelly Tagar in Zero Motivation (Zeitgeist Films)

From the opening sounds of copy machines, staple guns, ringing telephones, and dial-up modems, Zero Motivation sets itself firmly within the monotonous mentality of an office space. Yet as the intro credits end and the workplace reverberations cease, the first onscreen image is not of a messy desk or of fingers typing on grimy keyboards, but rather of soldiers—male and female—scrambling onto a bus in the dusty Israeli desert. This bait-and-switch technique is regularly employed to full, biting effect in writer/director Talya Lavie’s feature debut, a droll, zany satire of the hard-wrought triumphs and defeats of the Israeli army’s battles fought far and away from the combat zone.

Lavie divides her film into three contiguous stories: “The Replacement,” “The Virgin,” and “The Commander.” Each episode features recurring characters as they meander through the relentless days of serving at the Shizafon Army Base. Dana Ivgy and Nelly Tagar play Zohar and Daffi, respectively, two mewling, unimpressed slackers in the administration office who spend their days besting Minecraft high scores on outmoded desktops and avoiding any and all responsibilities as ordered by their irritated commanding officer, Rama (Shani Klein). While Zohar is more or less resigned to her fate for the next two years, Daffi actively seeks reassignment to Tel Aviv, the glamorous metropolis where she believes she will rightfully regain her life.

Through the perspectives of these two young women—one nonplussed, the other utterly shambolic—Lavie presents two versions of How to Succeed in the Army Without Really Trying. But for Zohar and Daffi, their definitions of success lie in doing absolutely nothing—and being downright great at it. Zohar amuses herself by following instructions far too literally, to the chagrin of Rama. She removes a stain from the commanding officer’s uniform and shreds “all unnecessary paper,” leading to inevitably humorous office impairments. And while Zohar entertains herself, her co-workers, and viewers through her skillful deficiency, Daffi’s hopeful pining for a transfer—so that she can continue to do nothing while residing in a more glossy locale—is hysterically pitiful.

Along for the ride are other exasperated soldiers, including Irena (Tamara Klingon). Each woman faces her own demons (one more literally than the others), and of the supporting cast, Klingon stands out as a Russian ex-pat with zero patience for the pratfalls and shortcomings of her incompetent coworkers.

Each of the three stories boasts audacious, riotous sequences, and sharp dialogue, particularly the exchanges between Zohar and her constant combatants, Rama and Irena. Ivgy portrays Zohar as Sarah Silverman-lite, physically (nothing but messy ponytails and smirking facades) as well as in her line delivery. She steals the show from a cast that routinely brings their A-game to their Z-list theater of war.

In addition to showcasing the petulance and incompetence of her soldiers, the director also aims to illustrate the rampant, impenetrable sexism that pervades the army—a prejudice that persists despite the fact that both men and women are required to enlist. Rama scolds her soldiers for dawdling in the office to avoid serving the other (male) commanders their morning coffee. When Daffi and a female colleague finally make their way to the head CO’s office, the soundtrack switches to a classical waltz, underscoring the women’s roles as pretty performers rather than formidable equals among the male soldiers.

Lavie impresses with her debut. She excels at portraying the monotony of life off the battlefield and concurrently spotlights the imbalanced hierarchical and patriarchal nature of the outpost, all with a cleverly light touch. Even the most absurd sequences linger with consequence, allowing viewers to chuckle and ponder the system’s unchecked sexism. Zero Motivation may depict women with limited drive, but as a filmmaker, Lavie appears to possess endless skill and ambition.