The Measure of a Man is not a film that will be lauded for its direction nor for its cinematography, screenplay or editing. It’s a film that will be remembered for its absorbing lead performance. Vincent Lindon takes one deep into the mind of Thierry, a man who has recently lost his factory job and is now trying desperately to find work. Unfortunately, obstructions of the modern world, from the current state of the economy to the introduction of technology in the workplace, prevent him from doing so and thus he struggles to support his family financially.

After impressing in Claire Denis’ recent atmospheric thriller, Bastards, Lindon goes to greater lengths here, deeply sinking into his role and displaying Thierry’s…

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I've always found it interesting and a little odd that Harun Farocki worked with Christian Petzold on so many of his recent features, because on their surface, those films -- The State I Am In, Ghosts, Barbara, and Phoenix -- don't bear much resemblance to the documentaries and essay-films for which Farocki is known. This means nothing in itself, of course. Farocki was a versatile artist, and working with Petzold no doubt allowed him to explore different parts of his creative personality, such as his extensive cinephilia.

But all other things being equal, if I were to imagine what Farocki's fixations and sensibilities might look like as applied to a narrative film, the result would strongly resemble The Measure…

*Фильм о скромном маленьком человеке, задача которого и проста, и невыполнима одновременно: найти себе работу, не растеряв при этом чувства человеческого достоинства. Кино это рассказывает вроде бы о французской действительности, а такое впечатление - что о нашей.

**Тьерри уверен: с людьми надо по-доброму. Такого отношения он хочет к себе, так же сам пытается относиться к другим. Но когда жизнь покажет, что по-доброму – никак нельзя, ему предстоит сделать непростой выбор.

***Фильм «Закон рынка», год назад участвовавший в конкурсе Каннского кинофестиваля, сюжетно делится на две части. Первая его половина – рассказ о том, как непросто во Франции (да и в любой другой стране, наверное) жить без работы. Свою главный герой потерял из-за массового сокращения на заводе – и вот уже девять…

Stéfaphane Brizé: I hate dancing. I think it's despeciable and downright humiliating. Never have I ever thought about us looking more degenerate and like an inferior lifeform as when I see us dancing.

Common Sam: Well, nobody is gonna fund a movie about silly dancing.

Shadowy figure: fools...

Stéfaphane Brizé: Escuse me?

Ken Loach (stepping into the light): Fools!

A nice conpanion piece to "I, Daniel Blake", that is in no way inferior and touches on some points that weren't touched there.
Dare I say...it even had the prettier people in it?

The camerwork is really centered and focused on our character, which I found very intriguing and interesting. Like a modern and more boundless "Persona".
Dare I say...it even…