Tokyo. Ryo goes to his job at the railway company where he’s task is remove the remains of the railroad due to the numerous suicides. Saki, a young girl, wanders around her city contemplating an apathetic society. Her walk drives her to the platform of station where Ryo finds her…
From his village to the big city, Sylvain is trying to make it in Ouagadougou, the capital city of Burkina Faso, one of the world’s five poorest countries. There, he found a job as a bar manager at Le coin des Amis, a “buvette” owned by Hortense, a policewoman trying to make ends meet. Work is home for Sylvain: he works seven days a week and sleeps in the backroom. He has only one thing in mind: saving up enough money to get his driver’s license. If he succeeds, he could drive a merchandise truck, a job that would allow him to find a wife and start a family. In Burkina Faso, you are not really an adult until you are married. That is why he saves 100% of the 20$ he makes every month. In a year’s time he will have saved up enough cash to start his lessons. 2015 Brazilian International Labour Film Festival
Driving around under the lights of the city, Lucky, a social worker, is looking for Romane, a young teenager who has ran away. On his way, he meets Vladimir, an unconventional person, horrified by the moral decadence around him. Through the gaze of these characters, A Reality Every Second immerses us into the universe of those we are usually turning away from. 2015 Brazilian International Labour Film Festival
Not rated
In Portuguese, with English subtitles
Running time: 1 hour 39 minutes
Workplace tensions intersect with domestic stresses in Juliana Rojas and Marco Dutra’s “Hard Labor,” a tense drama inching toward stark metaphor. Otávio (Marat Descartes) is a middle-aged, middle-class apartment dweller in São Paulo, Brazil, who has just lost an unspecified white-collar job. He receives the news just as his wife, Helena (Helena Albergaria), is trying to get a modest grocery store business off the ground. Parents to a young daughter, they are an affectionate, mutually supportive pair, but the vicissitudes of their struggles exact a cost. Otávio attends a humiliating job interview in which he is questioned while seated opposite two younger men seeking the same position. An employment counselor tells him his search could take a year. Eventually he is reduced to telephone sales, cold calling customers to pitch insurance. His efforts pale beside the troubles of Helena, who faces thieving employees, strained relations with a young housekeeper (Naloana Lima) she has hired, leaky plumbing and something hidden behind a wall at her store that exudes a foul odor and might be alarming a dog across the street. The filmmakers, largely forgoing a soundtrack, skillfully manipulate stillness, silence and anomie to unsettling effect — at times evoking the ambient dread and decay of, say, Roman Polanski’s “Repulsion.” That Mr. Descartes and especially the skilled Ms. Albergaria are devoid of movie star airs elicits our sympathy. As does a lingering shot of a line of applicants for store employment, a group portrait of Brazil’s recessionary casualties.
– New York Times
2000
Comedy
Canada
Director: Gary Burns
Writers: Gary Burns, James Martin, Patrick McLaughlin
87 Minutes
This satirical lens into office work, corporate culture, and urban life involves a wager between co-workers as to who can last the longest without venturing outdoors. With their office building connected to both a well-stocked shopping center and their apartments, this appears a cinch. However, nearly a month into the contest at a retirement party, things go awry when one of the bettors, assigned to follow the CEO, discovers an unsavory secret about him.
30 min
Filmmakers: Dina Yarmos and Sandra Jeong-In Lane
Highlighting five rank and file union women from different sectors across Philadelphia, “Union Women Union Power” introduces viewers to recent fights for democracy in Philadelphia workplace. The film was produced to spur intergenerational dialogue and engage younger women in the labor movement.
The film is about the dangerous life of construction workers in a foreign land far from their homeland, and their social problems.
–Written by Steven Zeltzer
The effort to protect the privatization of Gezi Park in Istanbul touched off one of the biggest protests and demonstrations in Turkey. This film shows how the people tried to protect the park from developers and property speculators who the AKP Prime Minister Erdogan represents.
The families of those immigrated for various reasons live in the four edge districts of Ankara which are located in the boundaries of Çankaya. The families who have lived for years in this region are exposed to an enforced immigration for urban transformation. The movie expresses the urban transformation and immigration subjects through the viewpoint of the children of those families.
A strong cast and good acting punctuate this drama about well-worn themes in contemporary cinema and educational discourse—failed public schools and the teachers allegedly indifferent to the pervasive, seemingly intractable social problems in them. Adrien Brody plays a substitute teacher who, in his one-month stint in a long-suffering public school, encounters teachers barely hanging on to their jobs and vocational motivation, and teenage students struggling with identity problems, abuse, and serious adult dilemmas such as prostitution. Hard-hitting indictment of not just the problems afflicting US public education but also some of the remedies advanced to solve them.