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Farzan Ozbek announces an app and a book, and the shooting of the new movie will start in October

The Turkish naturalized Italian director is going through a very intense period at a professional level: a few days ago he returned to the screen, this time small instead of big, with the TV series he directed from his cult film, “The Foolish Fairies”. He is already working on three other projects, one technological, one literary, and an inescapable film project

Farzan Ozbek is in full creative ferment: the Italian naturalized Turkish director is going through a very intense period on a professional level, returning from the success of his TV series based on his cult film “The Foolish Fairies”.

The television version of his 2001 movie starring Margherita Buy and Stefano Accorsi debuted on the small screen, debuting April 13 on Disney+ as the first Italian Star Original project.

But Ozbek is not the type to rest on his laurels, having success in his hands: the Istanbul-born director is already working on three more projects, each of different genres and sectors.
He himself was the one who anticipated them in Ansa, announcing upcoming releases that consider him the absolute champion in three different areas: technological, literary and cinematic. If the director and writer have already been accustomed to the last two sectors for some time, it is the first area – the technological field – that is surprising. Farzan Ozbek told the press that he will soon release an app, a book and a movie, the latter of which will be released later than previously announced, given that the director has chosen to postpone filming until October.

Postponing filming

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Clueless Fairies Trailer TV Series

The director talks about the option to postpone his new film. “Warner wanted to go out for Christmas, but I asked to postpone the collection until October. I want to spend the summer in peace and then with the war no one knows what will happen,” Ozbek told Ansa, in an interview to present the photography exhibition Fermo imagine, an exhibition In Rome dedicated to Venice (the exhibition is in the Galerie La nuova pesa by Simona Marchini, until May 27).

The project is inspired by “Venetika”, a visual video installation signed by the Turkish director and which can be seen until April 30 at Maxxi in Rome. It is an immersive journey in which the video is reflected in the water tank as the scent of the lake spreads, accompanied by the music of Sezen Aksu.

Designed in 2019 for the 58th Venice Biennale, this installation presents the city as a “woman submerged in water” with the face of actress Kasia Smotniak. The Romanian exhibition organized at the La nuova pesa gallery chronicles the work with seven great photographic works selected by Farzan Ozbek himself, as well as several published behind-the-scenes photographs.

The app, the new book and the new movie

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Clueless fairies, the unreleased Mina on the series’ soundtrack

Uzbek spoke of “an app coming out in a month, all of my design, a new book and a new movie.”
At the moment, he hasn’t added information about the app he’s working on, which has kept an aura of mystery for both that and the book we’ll soon see on the shelves.

His new cinematic effort also remains in Mystery Nebula, an always-cool nebula…
“We’re still completely in the writing stage,” the director explained, “but I’m going to shoot it in Rome or Italy anyway.” “The Foolish Fairies – Serial” was also filmed in Rome, mostly on the balcony of Lanificio on Via di Pietralata.

Ferzan Ozpetek in whole creative yeast

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Clueless fairies, the differences between film and TV series

Recently, Ferzan Ozbek has been an endless well of ideas and projects, which pleases him but also us.
“I am always amazed, it may be that I am getting old, but for three years I have come up with new ideas and projects. I have not only managed to make them, but always successfully. […] Now I have put a notebook on my nightstand, because thoughts come to me during the night. I get up and notice them so that I don’t forget them in the morning, ”Ozbek added during the interview with Ansa.

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Gonzano was paralyzed from May 8-18 due to the filming of “Fast & Furious 10”

Publication date: Thursday, April 28, 2022 – News Editorial Board


ilmamilio fast and furiousGenzano (current affairs) – closed roads, heavy traffic restrictions. Citizens and merchants are very worried

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In less than two weeks, Ginzano will be “invaded” and “besieged” by the Americans, but this time, not by the Allied forces, as already happened in the year 44. But by the American “forces” Wildside movie production that produces the movie seriesThe Fast and the FuriousHe reached the tenth episode of the saga. Genzano mother yeast

From May 8 to 18, a large part of downtown will be governed by a municipal ordinance signed by the council and the mayor: pervasive disorder. With roads closed to vehicular traffic, even pedestrians at some hours. Shopkeepers have already been offered to reimburse the expenses of staying at home on training days for the film. While many of the many street dwellers wonder where they will park their cars, will they be able to go home on their training and shooting days.

Since the crossing of vehicles and pedestrians will be prohibited for several days, and the removal area will be established, there is no possibility of parking in a large area of ​​the historical center (almost all of them).

Here are the streets and squares involved: via Bruno Buozzi, Italo Belardi, Cesare Battisti and piazza Marconi (in front of the old cathedral), Via Bruno Anarumi And via Don Morosini (the area adjacent to and facing Palazzo Cesarini), Piazza Dante Alighieri. All the areas they will reach, fake bombs, rotating areas, special effects, blazing fantasy cars.

For several days, therefore, the passage of vehicles and pedestrians is prohibited, the removal area, and parking prohibited. In last week’s decree, there is talk of a closure for filming between 8 and 18 May of a large part of the central path along the Via Appia Nova, the hike from Collabona, the extension of Corso Gramsci, up to Piazza Frasconi Corso don Menzoni, for “rehearsals”.

To guard the center of Ginzano, there will be Dozens and dozens of bodyguardswhich will keep the curious at a safe distance and will not allow anyone to approach the sites chosen as a group and representatives of the saga who will arrive in Rome on May 5th.

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But it will probably only be in Genzano for a few hours on May 16 and 17 for actual filming in the group area between Via Italo Belardi, via Bruno Buozzi, and Piazza Marconi (or from Duono Vecchio) With an operational base in Piazza Fraconi in the former Locatelli School. The area that will be affected by a tight encirclement and special monitoring of the guard of the production authority and the prohibition of vehicular crossing and within a few hours also for pedestrians.

With the local police committed to providing support and support to employees of the traffic and Dozens of ban for 10 days.

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Jason Mamua, Vin Diesel And the other heroes of the series Fast and Furious 10 (Now called Fast X) You’ll be in Rome from May 5 with arrival at Ciampino Airport on a private jet, likely staying at a popular hotel in Castelli Romani, escorted by the film’s production bodyguards and their personal staff. . Who did not take into account, however, the Italian and Romanian paparazzi, Castelli Romani and Castelli Romani, willing to do anything to catch them.

As the king of Roman paparazzi paparazzi Rino Barillari always says: “In our work, you first shoot in bursts and then ask if they want to be photographed. And then war is war, and no discounts are given to anyone, especially those well-known personalities who live And they earn millions of euros thanks to their audience, who often hide behind gorillas and their aggressive bodyguards, behaving like stars and rudeness.”

Centrosportivo 2 Frascati El Emilio Hills

According to the contract with the American production company Wildside srl, approximately 48 thousand euros will enter the municipal coffers for the occupation of public lands and local municipal leases. Street lamps for public lighting will also be removed and other work will be carried out on the disastrous streets of Genzano, at the expense of the film’s production, which will then have to be recreated and made public to the public The street lamps are back in place at the end of shooting on May 18. The rehearsals and some scenes have already begun, according to some rumors leaked in the American newspapers, and Gonzano is no longer the only place chosen by the director and producers.

There is also a city Turinand some towns in Calabria and at the last minute also attracted a popular restaurant in Nemi, where campers and movie vans have been staying for several days with the area guarded by menacing bodyguards.mount Compatre ilmamilio . exhibition

“with the The Great Appia Bridge Closed to transit due to works, in Arica the closure of transit in a few days in the center of Ginzano, with diversions to alternative roads, already permanently blocked by traffic, threatens to close the total transit for ten days,” said Mr. B who resides in the Ginzano area. Affected by prohibitions, he goes every day to Rome to work as a maker with his truck.

Read Ariccia | The first day of the closure of the monumental one-way bridge, traffic is in disarray. Complex and poorly signaled alternate paths

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Billy Wilder Journalist Costume – Books – A Book a Day

Billy Wilder – Special Entry (this ship – PP.270 – €20.00 – translation by Alberto Pesotta).
“This morning, the 34 sexiest legs in the world came down from a cup of espresso from Berlin… One of the last ones that came down was a lady of a certain age, elegant tall, with an old-fashioned hat pulled over his head, a glass-cap in his right hand and waving With his left hand, conductor movements.” Reading this Arrival at Vienna Station for Tiller Girls, described by twenty-year-old Billy Wilder, it is natural to think of the female orchestra’s train in Some Like It Hot, the film to be shot in America more than twenty years later, in 1959 .
And that’s just a little way to read these fashion articles, now republished on the twentieth anniversary of the author’s death, which occurred on March 27, 2002. They were written by young Jew Samuel Benn Berlin and Vienna between the wars. Wilder, born in Socha, near Krakow in 1906, immigrated to the United States in 1934 to escape racial laws, where he would become Billy, while his family would end up in Auschwitz.
Of course, the symbols are not directly related, but it is a matter of understanding and rediscovering the spirit that will be the soul of his works and will make him one of the great fathers of great cinematic comedies, for which he signed more than twenty films awarded with six Oscars, in addition, quotes, ranging from “Viale del Tramonto” to “When the Wife is on Vacation”, from “Sabrina” to “Irma la dolce”, from “Apartment” to “Front Page”, not to mention collaborations in dozens of film shows.
Thus we note his ironic look, if not biting humor, in investigating the world and the reality around him and above all the different personalities of people with their weaknesses. All of this sometimes puts itself to the test, as when in the 1927 long piece at the opening of the group, curated by Noah Eisenberg, he recounts his experience as a paid dancer in an elegant hotel in Berlin. The director immediately clarifies that he is not there to enjoy, but to dance, which is hot and tiring: “I dance with young and old; With dwarves and giraffes. With the beautiful and the less attractive; with sylphs and those who go to slimming herbal teas; With those who send a waiter to call me and savor a peppy tango with their eyes closed; With gorgeous mono-clad wives whose husbands can’t move a step, with awkward countrymen on a trip to the capital… It’s not an easy way to win a loaf, especially if you’re sentimental with a tender heart’.
A student in Vienna, who has a passion for table games, boxing and cinema, says Isenberg, and in order not to study law, as his father would like, he begins to work as a journalist, and, thanks to his resourcefulness (`I had a wonderful impudence, was too sure of myself and had a talent for exaggeration’ ’), and was able to enter the beautiful world and deal with and interview wonderful people. Here you can read his encounters with Asta Nielsen, the world-famous actress, or billionaire Cornelius Vanderbilt, and many others who have taken an interest in the world of cinema from Lubitsch to von Stroheim, also noting the way that Chaplin would not have created Charlotte himself, but stole from “Billy Hurriedal, boy obscure English. Next comes Paul Whiteman, the famous conductor of the great jazz orchestra who took him with him to Berlin, where Wilder found more freedom than he had in Vienna and prepared for the longed-for relocation to the United States.
The final part of this collection of articles, beginning with a hilarious phrase ‘What It Takes to Make a Film’, with examples of Japanese or Spanish films, includes a series of reviews and news related to theater and very short films, such as a story about Marlene Dietrich being shot in An airport on the “Ship of Lost Men” on a plane famous for setting a flight record of 75 hours. It is the period before he was able to cross an ocean, during which, thanks also to his friendship with Whitman, he began as a screenwriter to collaborate with some of the directors, including Robert Siodmak and Fred Zinman. It’s the beginning of that career as a screenwriter that continued in America, achieved great success and in 1939 received her first Academy Award nomination for the film Ninotchka, played by Greta Garbo. (handle).

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Book of the Day: Journalist like Billy Wilder – Books – Book a Day

– Billy Wilder – Special Entry (this ship – PP.270 – €20.00 – translation by Alberto Pesotta).
“This morning, the 34 sexiest legs in the world came down from a cup of espresso from Berlin… One of the last ones that came down was a lady of a certain age, elegant tall, with an old-fashioned hat pulled over his head, a glass-cap in his right hand and waving With his left hand, conductor movements.” Reading this Arrival at Vienna Station for Tiller Girls, described by twenty-year-old Billy Wilder, it is natural to think of the female orchestra’s train in Some Like It Hot, the film to be shot in America more than twenty years later, in 1959 .
And that’s just a little way to read these fashion articles, now republished on the twentieth anniversary of the author’s death, which occurred on March 27, 2002. They were written by young Jew Samuel Benn Berlin and Vienna between the wars. Wilder, born in Socha, near Krakow in 1906, immigrated to the United States in 1934 to escape racial laws, where he would become Billy, while his family would end up in Auschwitz.
Of course, the symbols are not directly related, but it is a matter of understanding and rediscovering the spirit that will be the soul of his works and will make him one of the great fathers of great cinematic comedies, for which he signed more than twenty films awarded with six Oscars, in addition, quotes, ranging from “Viale del Tramonto” to “When the Wife is on Vacation”, from “Sabrina” to “Irma la dolce”, from “Apartment” to “Front Page”, not to mention collaborations in dozens of film shows.
Thus we note his ironic look, if not biting humor, in investigating the world and the reality around him and above all the different personalities of people with their weaknesses. All of this sometimes puts itself to the test, as when in the 1927 long piece at the opening of the group, curated by Noah Eisenberg, he recounts his experience as a paid dancer in an elegant hotel in Berlin. The director immediately clarifies that he is not there to enjoy, but to dance, which is hot and tiring: “I dance with young and old; With dwarves and giraffes. With the beautiful and the less attractive; with sylphs and those who go to slimming herbal teas; With those who send a waiter to call me and taste a peppy tango with their eyes closed; With gorgeous mono-clad wives whose husbands can’t move a step, with awkward countrymen on a trip to the capital… It’s not an easy way to win a loaf, especially if you’re sentimental with a tender heart’.
A student in Vienna, who has a passion for table games, boxing and cinema, says Isenberg, and in order not to study law, as his father would like, he begins to work as a journalist, and thanks to his resourcefulness (`I had great impudence, I was too sure of myself and had a talent for exaggeration’ ’), and was able to enter the beautiful world and deal with and interview wonderful people. Here you can read his encounters with Asta Nielsen, the world-famous actress, or the billionaire Cornelius Vanderbilt, and many others who have taken an interest in the world of cinema from Lubitsch to von Stroheim, also noting the way that Chaplin would not have created Charlotte himself, but stole from “Billy Hurriedal, boy obscure English. Next comes Paul Whiteman, the famous conductor of the great jazz orchestra who took him with him to Berlin, where Wilder found more freedom than he had in Vienna and prepared for the longed-for relocation to the United States.
The final part of this collection of articles, beginning with a hilarious phrase ‘What It Takes to Make a Film’, with examples of Japanese or Spanish films, includes a series of reviews and news related to theater and very short films, such as a story about Marlene Dietrich being shot in An airport on the “Ship of Lost Men” on a plane famous for setting a flight record of 75 hours. It is the period before he was able to cross an ocean, during which, thanks also to his friendship with Whitman, he began as a screenwriter to collaborate with some of the directors, including Robert Siodmak and Fred Zinman. It’s the beginning of that career as a screenwriter that continued in America, achieved great success and in 1939 received her first Academy Award nomination for the film Ninotchka, played by Greta Garbo. (handle).

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Back to Viat Nam | double zero

This is a true story, which happened to the father of a friend of mine. A worker at Mirafiori in the early seventies, had a terrible accident at work due to poor maintenance of the machine. While in the hospital, most of his body burned with very little hope of survival, some FIAT officials approach his wife and propose a pact: If he does not report the accident inside the factory, but outside, for chance reasons, yes they commit to hiring her as an employee, including Ensures that they have reasons to live, and their daughters. The husband dies and the widow accepts the contract. He goes to work at FIAT and is able to raise his daughters with dignity. To do this, she uses the “FIAT System” that has made Turin for decades, blending the rigors of the practices just described with the wellbeing approach perfectly described in after work, a true classic of corporate cinema, produced in those exact years, in 1972. It is produced by CineFIAT, the equivalent of the press and publicity authority of PCI at that time. and somehow after work is a peer Trevico Turin, a trip in Viat NamAnd The Ettore Scola movie released just a year later.

CineFIAT has not only produced advertising films, but also educational documentaries and various types of testimonials about the company’s activity. This film, for example, appears to have been produced for internal use, and is intended for the employees themselves, to inform them of all the activities and opportunities offered by Fiat “outside of work”. At 24 minutes, the film collects a rapallic amount of interfering segments. It starts from the field of recreational sports: water polo, blankets, rowing, tennis, swimming pools, athletics, Greco-Roman wrestling (!), basketball, diving and weightlifting. We then move on to more social issues: credit to buy a car (FIAT naturally), social assistance, health, kindergartens and nurseries, boarding schools, and colonies. And of course public housing, which has been built with “ever-increasing commitment”. These are the same tall buildings at Mirafiori and Vallette that sometimes appear looming over the “aggregates” documenting the sports facilities. Then there is the pupil school, for the children of workers destined to be new employees. and FIAT Christmas, a seemingly unmissable party in which children of working-class families return home full of gifts. The film is keen to tell us that all of this is also shown on a monthly basis in “L’Illustrato FIAT”, a home-distributed periodical, which sees the editorial team at work on alacre.

The spread of the company’s approach to employees does not stop even when the employment relationship ends. We enter the world of “FIAT seniors”, who can hold regular meetings, a retirement home (inevitably named after Giovanni Agnelli) and a holiday hotel on the Riviera. Finally, here are the most obvious cultural activities: a library (however, oddly enough, the only framed volume is a directory called men and fish), folklore performances dedicated to regional communities, classical music concerts; And again: sports courses, mountain climbing, underwater fishing, chess, stamps, mycology, photography. In this catalog of the best of all possible worlds, everything is clean and immaculate. From the factory to the nursing home, there is an atmosphere of order and reasonableness, where everything is as it should be.

With sometimes alienating effects: the noisy geometry of an elderly canteen, for example, invokes the assembly line’s functional arrangement—even if the most surreal element of the scene is a white-gloved waitress who appears to come straight from the Agnelli Pete. Everything is told by a piece of music easy pop Captivating and rampant. In this universe where everyone is protected and nurtured, as long as – tacitly – they cooperate wholeheartedly, sometimes images are charged with an involuntary depressing tone. As in the case of an “old Fiat”, alone among others, carrying a plastic bag with goldfish likely to win at the booth of the rally that gathers 5,000 of his former teammates, the spokesperson tells us emphatically. It’s a picture of a strange unit that could have come out of a book by Beringo Garden.

Far from the historical and social assessments of the “FIAT System”, what remains with you today while watching this film is an ambiguous feeling. On the other hand, one can only complain, net of Agnelli’s paternalism, the loss of the complex set of social guarantees that today, in an age Release A liberal and fragmented work, it sounds like science fiction. On the other hand, the company’s apparent attempt to seize every moment of an employee’s life with clever social blackmail is disturbing: the moment I take advantage of you, I create in you a complex of guilt and gratitude as opposed to what you feel about oppressive parents. And this must have been the root cause of what happened in the city in January 2003, when Gianni Agnelli passed away.

The corpse was displayed in the Pinacoteca del Lingotto, and this was indeed a reality with many symbols: it was an abandoned FIAT factory converted into a shopping center and art gallery at the same time, a boom full of antiquities. What no one expected was the sheer number of people, ordinary citizens, including many ex-employees, who braved hours of cold standing along the previous test track to bid his final farewell. Among these were many of his “enemies”, people who fought him inside and outside the factory: they were more or less aware that they, along with their opponent, were celebrating their historic funerals. (All this was narrated in a beautiful film by Gianfranco Barbieri, massUnfortunately, it cannot be tracked online.) Among those people in line, as well as my friend’s mother. For whom I did not dare to ask why I went; But maybe there is no need.

As part of the 2021/2022 cultural programming for Polo del ‘900 Where the wind leads. Crisis, transformations and opportunities for the new decadeThe Foundation of the Antonio Gramsci Institute of Piedmont proposes and coordinates the Con-nected Archives multimedia project. The text presented by David Ferrario here, which originated from a collaboration between Polo del 900 and Doppiozero, takes its hint and develops from the material in the course Work, Struggle and Rights (available here).

If we keep this space alive, thank you. Even one euro means a lot to us. READ AGAIN SOON AND SUPPORT DOPPIOZERO

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Liberation Day, 6 Anniversary Films

April 25 is a very important date in the history of Italy: on that day, in 1945, the Nazi occupation and the fascist regime in our country ended. Those moments have starred in many films over the years. Here is a choice

April 25 marks a very important date in the history of Italy: on that day, in 1945, our country was liberated from Nazi occupation and the fascist regime. That day also represents the culmination of the military phase of the resistance. Those moments have appeared in many films over the years. Here are some of the most famous.

Rome is an open city (1945) and Pisa (1946)

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April 25 the most beautiful parties

Roberto Rossellini was able to brilliantly describe the occupation in Italy and the last months before liberation. at Rome is an open city (1945) – an allegorical work of Italian neo-realism – tells the tragedy of the German occupation of Rome after the armistice of Casabelle. at Pisa (1946), on the other hand, Rossellini returns with the second film of the War Against Fascism trilogy, to mention the advance of the Allied forces from Sicily to northern Italy, in 6 episodes: Sicily, Naples, Rome, Florence, Emilian Apennines and Porto Tolle.

Mussolini – The last act (1974)

In this film, Carlo Lisani focuses on the last days of fascism and the German occupation of Italy. He tells them and makes them live the personal stories of Benito Mussolini. The story takes place from April 24, 1945 in Milan, where the Duce refused the mediation of Cardinal Schuster, until Saturday, April 28, when he was killed alongside Clarita Petacci by the cannon of Colonel Valerio.

San Lorenzo night (1982)

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April 25, because liberation is celebrated

The film talks about the period leading up to April 25, but at the heart of the story is always the search for freedom. On the night of August 10, 1944, in the town of San Miniato, part of the population decided to flee from the Germans. The fugitives, after a very difficult path, would be able to break free. The Taviani Brothers film, starring Omero Antonotti, won an award at Cannes.

partisan johnny (2000)

partisan johnnyAnd Directed by Guido Chiesa, and based on the novel by Pep Vignoglio, Johnny, a young intellectual college student from a middle-class family, decides to join the resistance in Lange, despite doubts and insecurity. He will face a very harsh winter, but through suffering he will find the true reason for being partisan, always remaining true to himself.

The Forgotten Front – Resistance in Bologna (2020)

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Liberation Day How to explain April 25 to children

Through the photographs the life of Bologna – the largest city in northern Italy on the front line – during the war is told. With partially unpublished documents and materials, the documentary traces the historical events that involved the city from 1943 to 1945, including the German occupation and of course the liberation struggle waged by the revolutionaries and the residents who supported them.

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Another world: only the individual is saved

The cinema of Stefan Brezy, author of three films in seven years on the social inequalities that liberalism has produced, is always up to date despite the latest, Another worldIt hit theaters after the unimaginable economic emergency caused by the pandemic. By choosing to analyze, among other things, the question of the relationship between the quality and quantity of time each individual gives to his work and his private life, he has highlighted the inequalities that the pandemic has further accentuated: between those who can and those who cannot choose where and when to work, who can and who He cannot voluntarily choose the right time to stop. Again, Breezy chose Vincent Lyndon as the hero, but it has nothing to do with the other characters he played: the actor during the Venice Film Festival (where the film was in competition) objected to the use of the term “trilogy” for this very reason.

Stephen Breezy.

The director’s position is less strict, realizing that he has completed a trilogy backwards: each new film analyzes the causes of the events of the previous film, changing the names of characters and companies. at market law (2015), Lyndon an unemployed middle-aged man struggling to get back into the job market; When he succeeds, he is forced to become a partner in the ruthless labor management system of which he himself was a victim. The narrative arc begins when he is unemployed, succumbs to participate in useless training courses and accepts risky jobs; He is also exhausted from fighting his former company in court despite making sure it was profitable, so his surplus was not due to a crisis. What happens when the owners of a for-profit factory still decide to close it is a topic at war (2019), in which Lyndon is a unionist trying to save vulnerable jobs in every way, including politics and the information world, while maintaining a relentless stance always on the verge of legality.

The title of the third film comes directly from a scene in this film, in which the CEO of the fictitious German-owned company Perrin defends the option of closing the French factory during a fruitless negotiating table with social partners. “Denial of the present reality of this market is equivalent to wanting in another world, to live in another world”: this is how the manager presents his choices to his interlocutors as inevitable. A viewpoint so disregarded of the legitimate demands of workers called for further analysis: therefore, in Another worldLyndon transformed himself once again to play Philip Lemesel, who has been part of management for years and can provide perspective on facts complementing those of the characters in previous films.

The head of the French hardware factory belonging to an international group, Philippe is at a hierarchical level that places him in command of hundreds of people but also reports directly to the National Coordinator, who in turn must respond directly to the truth. President, American Cooper. He is not in a comfortable position: he has a position of great responsibility but does not have full decision-making power; He has a high salary but money and prestige are not enough to make his family happy. His wife Anne (Sandrine Kiberlin), for this money and prestige, agreed to give up her career, reluctantly accepting to see fewer and fewer of her husband even on weekends, but no longer accepting that he pollutes the family atmosphere due to the accumulated stress of work and then puffs air in the house.

Lucas (Anthony Pagon)’s son absorbs this inner negativity that causes him to have a troubling nervous breakdown. However, neither divorce papers nor hospitalization of the child in the clinic could distract Philip from the task assigned to him: to select 58 employees at his full discretion to be fired, and not less than one. He must have an exact number, because that is what is expected of him. But the plant is also expected not to lower the quality level despite the workforce being reduced by about 10%. He was given an illogical but binding mandate, exacerbated by the anxiety of having to choose who would spoil his life by denying him a job.

Announcing or signing layoffs is never the elusive and intangible market, but the people in the flesh. It is easier to direct the fight, just as it is easier to make the plot of the film convincing, if one can put a face to the “enemy” who blocks the path of the protagonists. But this time, the antagonist is the protagonist, so that it is clear that the one who takes responsibility for the organizational choices is not necessarily the promoter. Neither the workers nor the trade unionists have access to the secret meetings of management, therefore all management in their eyes are equally responsible: they cannot know that Philip is their best ally, they do not know the commitment he has made to find alternative and economically viable solutions to avoid layoffs, they ignore the work The hard work of persuasion he is willing to do at the highest levels.

The torment experienced by a manager is symmetric, not contradictory, with that of his employees. If Prezi’s films seem unfair, it is because they do not simply tell us about the problems of the free market, but its worst perversions: for this purpose, he chose the stories of workers from profitable and self-sufficient companies, which were either reorganized or closed to them. Pure speculation by shareholders. The real, invisible enemy is the search for a larger and concentrated profit in the hands of a few, without redistribution and without investments. It is impossible, for Philip who is aware of this, to bear it all without a sense of aversion to economic inequality caused by willful greed, from which he himself profited.

More than another world, Breeze’s characters will need another life not swallowed up by the doubts of the action. They will gladly accept the daily boredom of security about their future. At the recent Rotterdam International Film Festival, we saw an unusual example that seemed to be the exact opposite of the tense situations recreated by the French director: in plans By newcomer David Estelle, over the course of three hours, a camera mounted on the back seat of a car sequentially shows the first minutes of several trips of a middle-aged lawyer merging daily, always at 5 p.m., in suburban Melbourne traffic on its way home. Sometimes he listens to the radio, sometimes he calls the phone, sometimes he talks to a colleague who recommends him: in his boring daily routine, the passing of the months can only be perceived by the different light that illuminates his journey that is always the same.

Since there is no real plot, we are surprised by the small amount of information that can be collected to create a picture of any ordinary life: the protagonist does not experience any memorable or interesting adventure, but also does not suffer from any serious crisis . face to. This is what it means not to fear that market laws can rip the certainty of a safe working position: the benefit of prolonged monotony over time that comes so close to the goal of peaceful living. We do not directly see the face of the protagonist plans, whom we learn to know only through the eyes reflected in the rear-view mirror, the voice, the hands busy with command: he has the body language of a calm and complete man, and this is the opposite of Lyndon’s characters who are physically tested by struggles crushing them and little by little they also undermine his dialectical ability, which is less effective. In the multinational environment that Brize photographed, that kind of serenity is not only absent, but seemingly impossible, even when the last missing piece is reached: who really commands.

As already in the previous films, Prezi chose to combine a few professional actors (the three members of the Lemizl family) with non-professionals who enriched the characters with their experiences and real-life dialogues that during the heated discussions, we constantly pause and voices overlap. Cooper, the CEO of a multinational, only appears during a video conference that begins under Better Sponsorship but turns into a chilling lesson about power: He’s played by Jerry Hickey, his regular job being the company’s coach. As an expert on company culture and language, it probably wasn’t hard for him to make his character intimidating.

At first he has a rather casual appearance but never appears cute, in the words he completes but his facial expressions express hardness and contempt, he is never afraid to look at the camera when he has to express his positions (look on the contrary, Philip unable to continue), his pronouncements are permeated in a categorical manner with precise and well-thought-out words behind which he reveals more anger than disappointment; The purpose of the meeting is to reaffirm its role as the only decision maker that should not be questioned. However, shortly after reaffirming his blind faith in the rules of the market, he admitted that he also had a leader to answer: Wall Street. Another film may also be needed to investigate the causes of the top of the pyramid, which comfortably dismiss personal responsibilities by hiding behind an abstract entity, thus depriving peers of facing the enemy.

Suffering, anguish, indignation and anger that pertain to workers and reach managers, can also include managers or those identified as gentlemen? Sure enough, Brizzy, reinforced by the testimonies collected, wanted to show how high-level executives can suffer emotionally when they are forced to make ethical choices that are inconsistent with their values ​​and that the suffering does not only concern employees: but in conclusion, it does not put everyone in a difficult position. same level. Not only is Cooper, who remains an elusive figure far from satisfied, but his hypothetical “boss” Wall Street is an ally rather than a threat; Even Philip faces an unwelcome fate with adequate protection. Already in the first scene, where the terms of the divorce between the Lemesle couple are discussed, the assets of the family are listed: money does not make any of them happy but ensures that they have enough resources to arrive at the end of the month without fear, and the months to come.

The employees of factories that are closed or renovated may suffer emotional suffering to a degree similar to that of this manager, but they also fear the well-founded dangers of destitution. All of Lyndon’s characters in this trilogy make a painful nod to the final break: the only person who can come out with a little confidence in the future, perhaps even with a new calm, is Philip, because the previously accumulated money makes him a difference. It is a bitter defeat of the class struggle: we can only be saved as individuals, in a system in which the well-being of the individual does not depend on the well-being of the whole society.

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