In “The Measure of a Man” (2015) and “At War” (2018), director Stephen Brieza and actor Vincent Lyndon dramatized the working-class struggle with a quiet reserve that did not cool or lessen the film’s rage. In both films, blue-collar workers find growing soul-scraping effects, compromising their livelihoods, their ethics, or both by the harsh, inhumane preferences of their capitalist masters.
In “Another World”, Bridge and Lyndon reunite to complete a one-of-a-kind trilogy on the theme, although this is the opposite of the characteristic measured, intelligent, indescribable film approach: here, Lyndon plays a white-collar manager caught up in his corporate responsibilities. Obligations towards the superior and his staff, have become increasingly powerless in the stalemate. Lest you think that “another world” is the work of the bourgeois class on both sides, however, rest assured that it has reached the same angry conclusion as its predecessors, albeit in a different way: why France’s brazier reputation remains intact. If “At War” enjoys a slightly lower art-house profile than “The Measure of a Man” যাwhich won the ears to show Lindon “” Another World “will probably continue the pattern after the premiere of its low-key Venice contest, albeit helpful The presence of subtle Sandrin Kiberlane in the role is an additional draw for distributors.
It is a domestic crisis rather than a workplace war, which engulfs wealthy executive plant manager Philip (Lindon) at the beginning of the film: his wife, Annie (Kieberlen), seeks a divorce after many years of divorce, and the film begins a heated confrontation between the couple and their respective lawyers. Scene. Ann’s lawyer claims to pay € 375,000, which doesn’t seem to be a big problem for Philip, who is further annoyed by Ann’s insistence on staying in “hell” for the last seven years of their marriage. (“If it were hell, ask for eight million,” he replies.) Once the work is transferred to the office, we begin to see how Philip – a ruthless or unreasonable man, seems – can carry a pressure. , With him the atmosphere of war at home.
Despite his healthy salary, the permanently navigable Philip is nowhere at the top of any stairs. He may be in nominal charge of the regional factory he oversees যা what he produces is never explicitly established, as if the point of the industry is lost in his politics কিন্তু but he responds to the demands of the Paris office, whose cold, skilled head Claire (Mary Drucker) is American. Under the fingers of corporate heads. (One of them, Jerry Hickey, played with a terrifying subjective threat, a kind of “Glengari Glen Ross” -via-zoom for the bad guys.) And a guide to profit margins, which are calculated by people who do not have to familiarize themselves with the lives lost in the process.
The impressive thrill of strategy against policy – which hangs on Philip Clare’s orders, confuses him while trying to protect his workers – is effectively a descriptive reversal of the “war” where Lindon threatened one in a thousand factory workers with unemployment, despite corporate promises. After closing. Both films formulate separate ethical principles against personal business considerations, with little David-vs. Goliath optimism. In the “other world”, Lyndon slips the most persuasively into the skin of the middle class, inevitably oppressed by capitalist tyranny, whatever their sincere sympathy for the people below them. His very posture and body language give rise to the uncertainty of a person with whom there is no clear angle to fight.
That Brizé basically surrounds Lindon with non-professional actors in the film’s work-based section প্রায় often playing as an exciting wordplay standoff on a sterile gray conference table-contributes to the air of their dazzling section. But it sets these scenes apart from her domestic life (actually another world), where Kiberline and Anthony Bajan (Lucas, son of Anne and Philip, who are struggling with learning difficulties) express a sense of kinship even in most of them. The perfect argument.
Ann and Philip didn’t fall in love with each other, right. But his challenging work didn’t take him away from home for countless overtime hours and weekends. It stuck him in a completely real and corporate life, in such a way that he didn’t know how to live any more. The thorny script of Bridge and Olivia Gors gives him the possibility of release, although it is not a job that will save any job, including his own. In this difficult, inexhaustible picture, even a moral victory seems like a defeat.