Here comes my coverage of the Chicago International Film Festival. I packed this weekend's schedule with seven more films. So, in addition to those listed a couple posts down, you can expect full write-ups on The Taste of Tea, November, Arakimentari, Waiting Room, Head On, Shouf Shouf Habibi!, and Adam and Eve (Still). I'll be trying to get caught up as quickly as possible. To start things off, here's my look at I Like to Work (Mobbing)....They get better. Honest.
I Like to Work (Mobbing)
Review by Jon Waterman
*1/2
Single mother Anna works for a company that recently underwent a merger. The new bosses, like many in Italy, have a history of being harsh with their employees in order to test company loyalty. Her position with the company keeps changing day by day to see how much she can tolerate. In increasingly subtle and sometimes far from subtle ways, they force Anna to choose between work and her pre-teen daughter Morgana. What can Anna do to save her job as well as her daughter’s love?
Here in the United States, this scenario doesn’t sound that familiar, but in Italy there are numerous similar cases from which the story was formed. Director Francesca Comencini also wrote the script for this frustrating drama about difficult decisions. It’s frustrating in part because with the hardships Anna goes through there is attempt at confrontation or argument, and we the audience would like to think we’d handle the situation better, yet still understand why she didn’t. It’s also frustrating, because the film is lacking in certain key areas.
Most importantly, there is a lack of intensity. The build up exists, but doesn’t snowball the way it should. The internal struggle becomes clear from the start and never escalates. The consequences don’t seem all too dire. As a result, the level of sympathy for Anna (played by Nicoletta Braschi – known more as Roberto Benigni’s wife) is reduced. Perhaps if she were more vocal, in either of her environments (work and home), the injustice would be more recognizable and relatable. The mother/daughter relationship didn’t do it for me, either. They love each other. That comes across, but the dynamic between them was never established enough for us to recognize its impending destruction. The same goes with Anna’s relationship with her coworkers. In fact, the only crystal clear relationship is that of boss and subordinate employee.
Despite the shortcomings in the script, the camerawork is solid. The sense of isolation and desperation comes across in every shot. The myriad shots of long, empty corridors emphasize the loneliness. The close-ups punch in on the emotional drive and defeat. Even those shots with other people, Anna steals the spotlight, as the rest of the actors almost seem like props. What I didn’t like was the standard blue tint to indicate the melancholy atmosphere and the shakiness of the camera seems unmotivated at times, especially near the beginning.
The ending was as quick as a snap of the fingers and just as resonating. The film may have more of an impact in Italy, where the problems Anna goes through are more commonplace, but I just can’t relate. Even if I could, it’s not necessarily a new story or even an overly interesting one.
I Like to Work (Mobbing)
Review by Jon Waterman
*1/2
Single mother Anna works for a company that recently underwent a merger. The new bosses, like many in Italy, have a history of being harsh with their employees in order to test company loyalty. Her position with the company keeps changing day by day to see how much she can tolerate. In increasingly subtle and sometimes far from subtle ways, they force Anna to choose between work and her pre-teen daughter Morgana. What can Anna do to save her job as well as her daughter’s love?
Here in the United States, this scenario doesn’t sound that familiar, but in Italy there are numerous similar cases from which the story was formed. Director Francesca Comencini also wrote the script for this frustrating drama about difficult decisions. It’s frustrating in part because with the hardships Anna goes through there is attempt at confrontation or argument, and we the audience would like to think we’d handle the situation better, yet still understand why she didn’t. It’s also frustrating, because the film is lacking in certain key areas.
Most importantly, there is a lack of intensity. The build up exists, but doesn’t snowball the way it should. The internal struggle becomes clear from the start and never escalates. The consequences don’t seem all too dire. As a result, the level of sympathy for Anna (played by Nicoletta Braschi – known more as Roberto Benigni’s wife) is reduced. Perhaps if she were more vocal, in either of her environments (work and home), the injustice would be more recognizable and relatable. The mother/daughter relationship didn’t do it for me, either. They love each other. That comes across, but the dynamic between them was never established enough for us to recognize its impending destruction. The same goes with Anna’s relationship with her coworkers. In fact, the only crystal clear relationship is that of boss and subordinate employee.
Despite the shortcomings in the script, the camerawork is solid. The sense of isolation and desperation comes across in every shot. The myriad shots of long, empty corridors emphasize the loneliness. The close-ups punch in on the emotional drive and defeat. Even those shots with other people, Anna steals the spotlight, as the rest of the actors almost seem like props. What I didn’t like was the standard blue tint to indicate the melancholy atmosphere and the shakiness of the camera seems unmotivated at times, especially near the beginning.
The ending was as quick as a snap of the fingers and just as resonating. The film may have more of an impact in Italy, where the problems Anna goes through are more commonplace, but I just can’t relate. Even if I could, it’s not necessarily a new story or even an overly interesting one.
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