The English title for this film misses the political emphasis of the French original, literally ‘the law of the market’. A shame because this is a fine entry to the Official Selection at Leeds International Film Festival and is also touring in the French Film Festival UK. Vincent Lindon won the Best Actor Award at Cannes for his performance as Thierry.
Thierry is a skilled machinist who lost his job when a factory closed. He is now enduring the bureaucracies inflicted on the unemployed as he seeks a new job. His home life is supportive but his son (Matthieu Shaller) suffers what seems to be Down’s Syndrome. In the course of the film we see Thierry’s encounters with Job Shops, Job Seeker courses, bank interviews and a Skype job application. They seem to be similar to and as oppressive as those in the UK. In the second part of the film he gets employment as a security guard in a hyper-market. We see the brutal procedures , not just for people caught shoplifting, but also for staff breaking the rules. There is a leaving ceremony for a retiring staff member at one point, replete with management rhetoric. In another scene we see a comment to Thierry by a colleague that managers are looking to lay off staff. Then the naked exploitative treatment that the rhetoric concealed.
I thought the handling of this story and the characters was excellent. The director Stéphane Brizé, who also worked on the script with Olivier Garge, has treated the themes admirably. In the Festival Catalogue he is quoted describing his work for the film:
“I wanted to look at and echo the humanity of a man mad into the cog of brutality of a system. I decided to point the camera on a straight honest type who unfortunately finds himself sidelines and experiencing his own humanity. My starting point was the question: would you do anything for a job, for a permanent contract? …
I spent months doing research and even did an internship as a security guard. Vincent Lindon also spent a good amount of time watching to see how it all works., listening, learning how to peak during interrogations, understanding how these people physically move around their environment. I also participated in various workshops held at the job centre on CV’s, on job interviews, to capture the reality, to see how the situation builds, to become familiar with the personal journey of a job seeker over 15 months, two years, etc.!”
The film is full of ironies, often quite funny. Some of the audience found the video job interview scene rather funny: for me it was so near the actuality that I could not laugh. And that is true of quite an amount of the film. I noticed that even the audience members who laughed did so less frequently as the film progressed. Parallel to this are the home scenes, full of the warmth and humanity lacking in the world of exploitative labour. The film relies on a low-key style and soundtrack. For much of the time the camera focuses on Thierry, often in a large close-up, but with the full widescreen still placing him among a setting or other characters.
There is an important earlier scene where Thierry meets his former workmates in a bar where they discuss legal action against the managers of the firm that closed down. Thierry is reluctant: a position that offers a comment on his responses as his situation deteriorates. The film’s ending is ambiguous, a car drives away. I felt that the audience could imagine a compulsory scene [one that the plot appears to make necessary] which would follow this.
I was reminded of The Axe / Le couperet (France, Belgium, Spain, 2005) directed and scripted by Costa-Gavras from the novel by Donald E. Westlake. That film though is farther up the class scale and has a far more sardonic treatment. It is depressing that the film has not had a UK release, if it turns up watch it. Meanwhile The Measure of a Man is held by New Wave Films, so it should be seen around the UK. It is in 2.35:1 and with English subtitles.