Skills must be used to restructure and lay off

Who said French cinema was not interested in the world of work Since human resources of Laurent Cantet, released in 2000, employees and businesses are growing on the screens. These past months, spectators could see nothing staff, eight standing times or even the American In the Air. Three films are found, with fifteen others, on show at lights on labour, first festival on the theme which will be held at the University of Paris Nanterre West from 11 to 15 October (1). Each evening, the projections will be followed by debates including bringing filmmakers (Cédric Klapisch, Mathias Gokalp...) and researchers (the Economist Philippe Askenazy, sociologist Dominique Méda...). The opportunity for issues to consider: has what looks like the company by the cinema Elements of response with Gwenaële Rot, lecturer in sociology at the University of Nanterre, who will speak in conclusion of the festival.

Known since Charlie Chaplin and modern times, the chain is a highly visual activity. The cogitations of a management controller, much less. "White collar workers represent a source of growing inspiration for French cinema but the work of managers is not the materiality of the labour work, says Gwenaële Rot." Films that seek to describe, as 99 francs on advertising (2007), are rare. The professional activity of the frameworks is more suggested than really represented. It passes through scenery, often cold and impersonal with glass walls which suggest modernity, as found in our universe merciless (2008), the person to the two people (2008) or even Crime of love (2010). "Open space or even clothing:" costume-tie is mandatory for men, continues the sociologist, as the tailor with shirt for women, in rather dark shades in the image of those worn by Sophie Marceau in the Age of reason "(2010) This abundance of stereotypes is explained: the objective is rarely documentary accuracy but rather to tell a story, that it works.

What are these frameworks Another snapshot, they are struggling for "contract Mobacom" (Fair Play, 2006) or to respond to "the tender of the Chinese" (the Coach, 2009, the Age of reason). Markets which sometimes depend of "the box", in any case the career of the protagonists, which allows many twists. For the famous contracts, these frames of film organize meetings at large tables which camp early in the film the hierarchical position of the main character, as he listens passively or leads trade. "These meetings give rise also to oratory contests, reported Gwenaële Rot." They are dramatic tensions (Crime of love) and are also sometimes the place, at the end of film, a reversal of the powers.

Certain professions, is finally the sociologist, are more present than others on the big screen. "There is an over-representation of functions related to the sale, particularly because they are conducive to comedy and the absurd: commercial directors are (Valérie Lemercier in Agathe Cléry 2008, Marc-André Grondin in final Bouquet, the same year), and the VRP, like Benoît Poelvoorde in the doors of glory (2001), Yvan the Bolloc'h in relaxation area (2005) or Anaïs Demoustier in love and water fresh (2010).". And if a character is lunatic and complexed, there are chances that it is carrying. "This is the case of Jean-Christian Ranu, the framework jammed the Cogip played by Daniel Auteuil in the person to the two persons, or François Pignon, Jacques Villeret and centerpiece of the dinner of idiots (1998).

Less reactive than their American counterparts, French filmmakers not in draw not less too their inspiration in reality; with more or less time to capture subjects. Once formidable (1991), for and with Gérard Jugnot, marked opinion because its release coincided with a large increase in the unemployment of the frameworks. Conversely, the directors have developed several years to bring to the screen the theme of moral harassment (with the respect that I owe you, 2006, stupor and tremors, 2003, Crime of love) or enthusiasm for coaching (the Coach, no staff). With Louise-Michel (2008), patterns which move the plant on the sly also increased from reality to fiction. "In recent years, the filmmakers also focused on themes of society, such as racism in the workplace (Agathe Cléry, Italian with Kad Mérad, this year) or even equal male-female company (our universe ruthless, on the other side of the bed, 2009)", details the sociologist who bet that the next source of inspiration will be the Elimination of patterns.

This is an another cartoon that tends to spread in French films: business life leaves no room to the unscrupulous and the moral sense. In human resources or trade Workplace Violence tempered (2004), the illusions of the young consultant smashed against reality. Skills must be used to restructure and lay off. The absence of moods is also the main theme of Fair Play which dialogues are without shades: "On the job, it is not fair that takes good conscience to preserve, explains one of the characters." The only rule, the only one: always do to achieve the objective. "The maximum including blackmail, harassment, psychological manipulation or concealment of documents to cause the dismissal of a colleague. And do not rely on the unions to temper this law of the jungle. "Most of the time, French films are the impasse on their existence, even in the event of conflict on the job, which refers to their crisis of legitimacy", analysis Gwenaële Rot. The rare exceptions, as the delegate of the staff camped by Bruno Solo in relaxation area, do not increase their credit. And if Denis Podalydès, which is the enigmatic "delegate of the Enterprise Committee staff" in nothing staff, demonstrated a clear goodwill, it is ineffective and eventually his resignation, sickened by management practices.

In these conditions, difficult to flourish in the Office. "The films showing happy employees, loving their work, as the couple of lawyers of our ruthless universe or the seller of the Italian cars are rare, pointe Gwenaële Rot." The work can be a source of happiness, but the films tend to reduce it to a world of suffering.

In 1982, that big wages lift the finger treated already dismissals, but on a light mode. Today, the same words is treated in a much darker way, even when it comes to comedy. And when a firm rogue pattern plant, workers of Louise-Michel hire a killer for hire to him deal with his account. In several films, economic violence is violence, or even murder: "team building" seminar which ends Fair Play degenerates in fatal account settlement, then that José Garcia, in the sunset (2005), murdered one by one his potential rivals to the position that could pull of long-term unemployment. Meanwhile, Daniel Auteuil dream in human to two persons to slaughter his colleagues at the Cogip on the pump action shotgun, a big smile to the lips.

The indictment reached its pinnacle with the human (2007) issue the analogy between the operation of large companies and the final solution. To Gwenaële Rot, "the human issue is part of the films which give an extremely black vision of the business world and who claim to represent a certain real." They do work their primary purpose and unidentified overlooking speech, but are often burlesque. "When the world of business serves as a frame in a comedy or a drama comedy, speech is often fine although it remains very critical." If Laurence Parisot persists in its project to reconcile the French with the company, it must one day dealing with the anxiety-provoking portrait draws the cinema.

(1) Complete searchable program on ères-sur-le-travail. FR