For the first time, I watched the fall of Laura Carrera, quietly devastating the later capitalism in the stage, on the Black Friday. This spontaneous timing is a kind of poetic prosperity to which the exact exit will never go; But to face the film for the first time, surrounded by remarkable ads targeted the algorithm and fake digital advertisements, it provided a realistic corresponding point. After all, the first Carreira feature is the first key in the first place as an exploration of the cost of unrestricted consumerism, a shredded exhibition that is disguised as a realistic social drama.
Aurora (Joanna Santos), a young Portuguese woman living in Scotland, works as a “ecstasy” in a huge Amazon warehouse. She spends her days in the shelves patrols with a barcode scanner, selecting delivery operations, and wage wages badly and risky. Other employees, a mixture of his fellow migrants and Scottish working class, are friendly but far away. Objective goals are excluded that exclude automatic interactions and maintain workers indefinitely. In a painful scene, a heedless security guard participates
Aurora is in a small conversation, because she looks at the deficit, the scanner is for her with increased urgency. When falling is a little traditional narrative film, but small details accumulate slowly for the effect of revelation. For a week, we follow the rhythm of Aurora’s life, the days of her work, her movement, her interactions with her colleagues in the flat, and her daily meals.
Reminded early on the mysterious death gestures of the worker’s colleague towards another possible way – psychological excitement or mystery, perhaps – but Carrera immediately turned from this possibility. Her interest is to understand how such working conditions shake off stability and deterioration. It never offers easy bad guys. The managers who come out of the police are from the unhappy boy in high -sized, and the woman who runs random drug tests are apologies but firm; Everyone here is only doing their work. Childhood is caught at the modern workplace – chocolate bars and sticky cakes for good performance, and aggressive negative reprimand for the missed goals – with sick accuracy.
Carreira is particularly skilled in evoking both Bainality Crusing and other strangers in the Aurora Action Environment. The opening scene, where the unknown workers mix livestock through a disk, and establishes ignorance of humanity that will accumulate soon. The entire factory illuminates the same glow of fluorescent, which is a sick blue gray that makes it impossible to distinguish between day and night. The strange touches make daily things – a plastic doll crying on a shelf, a stuck package that rotates in the middle of the road until a tanker – strange. This artificial atmosphere, which is almost a science fiction, is almost signs of the natural world, to alienate workers from themselves and each other gradually.
However, in an interesting development, Carrera also offers her personalities in this alienation. It is clear that Ura is eager to connect, and continues her joint kitchen, while her colleagues in the apartment hosts the guests and fly a long part by the store girl in the store’s makeup; But when real opportunities are offered for social interaction, she cannot participate completely. At Warehouse’s canteen, Aurora is watching her phone screen, even while she tries to conversation with her colleagues; Meanwhile, these colleagues have nothing to talk about anyway, unlike comparing the boxes that they currently pill. Surrounded by messages that provide consumerism and technology as an answer, Aurora can no longer remember the question, not to mention how to ask it.
On the fall, it is produced by sixteen films, which is the Ken Lush production company, and given the subject and elegance, the comparisons with the British Master of Social Realism are inevitable. However, it is worth noting that unlike Loach’s Sorry ISD You (2019), which dealt with similar economy problems in the economy, but was built to a dramatic surface, Carreira maintains emotional disorders of her characters under the rear. The escalating Ura is still hidden under the quiet outer surface, and leaks only from time to time through her huge expressive eyes.
Aurora is completely diminished by all daily insult, Aurora became like automatic that is one day that will one day take its function – numbness, emotion, lost. When Carrera finally allows a feeling of hacking on the surface in an unexpected impulsion of emotion during a job interview, these small, facade cracks open. It is only by finally allowing the fall, literally and metaphorically, Aurora can feel again, and perhaps in doing so you can find a way to the self that left it, and is buried under chimney cardboard and the bubble, again in the “Al -Wafa Center” called ridiculously.
► On the fall in UK Cinemas March 7.