{"id":2556,"date":"2025-05-18T22:20:00","date_gmt":"2025-05-18T20:20:00","guid":{"rendered":"https:\/\/arbeits-film-festival.at\/?p=2556"},"modified":"2026-10-16T20:19:18","modified_gmt":"2026-10-16T18:19:18","slug":"lohnt-sich-das-eine-deutsche-kurzfilmreihe-zu-beruf-geld","status":"publish","type":"post","link":"https:\/\/arbeits-film-festival.at\/en\/2025\/05\/18\/lohnt-sich-das-eine-deutsche-kurzfilmreihe-zu-beruf-geld\/","title":{"rendered":"Labour Struggles on Screen: St\u00e9phane Briz\u00e9 &amp; Vincent Lindon\u2019s Work Trilogy"},"content":{"rendered":"<style>.kb-row-layout-wrap.wp-block-kadence-rowlayout.kb-row-layout-id2556_086ebb-62{margin-top:0px;margin-bottom:0px;}.kb-row-layout-id2556_086ebb-62 > .kt-row-column-wrap{align-content:center;}:where(.kb-row-layout-id2556_086ebb-62 > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:center;}.kb-row-layout-id2556_086ebb-62 > .kt-row-column-wrap{column-gap:var(--global-kb-gap-none, 0rem );row-gap:var(--global-kb-gap-md, 2rem);max-width:var(--wp--style--global--content-size);padding-top:var(--global-kb-spacing-xl, 4rem);padding-right:0px;padding-bottom:0px;min-height:852px;grid-template-columns:minmax(0, 2fr) minmax(0, 1fr);}.kb-row-layout-id2556_086ebb-62{--breakout-negative-margin-right:calc( ( ( ( var(--global-vw, 100vw) - ( var(--wp--style--global--content-size) - ( 0px*2 ) ) ) \/ 2 ) *-1) + -1px);--breakout-negative-margin-left:calc( ( ( ( var(--global-vw, 100vw) - ( var(--wp--style--global--content-size) - ( 0px*2 ) ) ) \/ 2 ) *-1) + -1px);}.kb-row-layout-id2556_086ebb-62{background-color:rgba(17,17,17,0);}.kb-row-layout-id2556_086ebb-62 > .kt-row-layout-overlay{opacity:0.30;}.kb-row-layout-id2556_086ebb-62{z-index:906;position:relative;}@media all and (min-width: 1025px){.kb-row-layout-id2556_086ebb-62 > .kt-row-column-wrap > .wp-block-kadence-column:nth-child(1 of *:not(style)){margin-inline-start:calc( 0px *-1 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1fr);}}<\/style><div class=\"kb-row-layout-wrap kb-row-layout-id2556_086ebb-62 alignfull kt-row-has-bg wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-left-golden kt-tab-layout-right-golden kt-mobile-layout-row kt-row-valign-middle kt-inner-column-height-full kb-theme-content-width\">\n<style>.kadence-column2556_45f8b1-99 > .kt-inside-inner-col{min-height:600px;}.kadence-column2556_45f8b1-99 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column2556_45f8b1-99 > .kt-inside-inner-col{flex-direction:column;}.kadence-column2556_45f8b1-99 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column2556_45f8b1-99 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column2556_45f8b1-99{position:relative;}@media all and (max-width: 1024px){.kadence-column2556_45f8b1-99 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 1024px){.kadence-column2556_45f8b1-99, .kt-inside-inner-col > .kadence-column2556_45f8b1-99:not(.specificity){margin-left:-25%;}}@media all and (max-width: 767px){.kadence-column2556_45f8b1-99 > .kt-inside-inner-col{min-height:300px;flex-direction:column;justify-content:center;}.kadence-column2556_45f8b1-99, .kt-inside-inner-col > .kadence-column2556_45f8b1-99:not(.specificity){margin-top:0%;margin-right:0%;margin-bottom:0%;margin-left:0%;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column2556_45f8b1-99 inner-column-1\"><div class=\"kt-inside-inner-col\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1997\" height=\"870\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2025\/05\/cfbbded5-07a0-4406-adb3-783e9f5ad3ae-edited-1.png\" alt=\"\" class=\"wp-image-3164\" srcset=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2025\/05\/cfbbded5-07a0-4406-adb3-783e9f5ad3ae-edited-1.png 1997w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2025\/05\/cfbbded5-07a0-4406-adb3-783e9f5ad3ae-edited-1-300x131.png 300w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2025\/05\/cfbbded5-07a0-4406-adb3-783e9f5ad3ae-edited-1-1024x446.png 1024w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2025\/05\/cfbbded5-07a0-4406-adb3-783e9f5ad3ae-edited-1-768x335.png 768w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2025\/05\/cfbbded5-07a0-4406-adb3-783e9f5ad3ae-edited-1-1536x669.png 1536w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2025\/05\/cfbbded5-07a0-4406-adb3-783e9f5ad3ae-edited-1-18x8.png 18w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2025\/05\/cfbbded5-07a0-4406-adb3-783e9f5ad3ae-edited-1-1320x575.png 1320w\" sizes=\"auto, (max-width: 1997px) 100vw, 1997px\" \/><\/figure>\n\n\n\n<div class=\"wp-block-group padding-mobile is-layout-constrained wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-group is-vertical is-layout-flex wp-container-core-group-is-layout-2c90304e wp-block-group-is-layout-flex\">\n<p class=\"titulo-mobile has-x-large-font-size wp-block-paragraph\" style=\"padding-top:0;padding-bottom:0;line-height:1.2;text-transform:uppercase\"><strong>Labour Struggles on Screen: St\u00e9phane Briz\u00e9 &amp; Vincent Lindon\u2019s Work Trilogy<\/strong><\/p>\n\n\n\n<p class=\"film-ortdatauhr sub-mobile has-text-color wp-block-paragraph\" style=\"color:#000000;margin-top:0;margin-bottom:0;font-size:20px;font-style:normal;font-weight:700;letter-spacing:0px;line-height:1.2;text-decoration:none;text-transform:uppercase\">Astrid Hampe-Nathaniel <strong><strong>\u2014 <\/strong><\/strong>18.05.2025<\/p>\n\n\n\n<div style=\"height:0px\" aria-hidden=\"true\" class=\"wp-block-spacer wp-container-content-cc4259ba\"><\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"text-transform:none\"><strong>Briz\u00e9\u2019s gripping work trilogy\u2014The Measure of a Man (2015), At War (2018), and Another World (2021)\u2014all starring French powerhouse Vincent Lindon, stands as one of the most compelling cinematic explorations of labour markets in today\u2019s capitalism. A discussion about his thought-provoking films in this forum has long been overdue.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">St\u00e9phane Briz\u00e9 has a long track record of producing and directing provocative films about work. The trilogy with Vincent Lindon stands out among these: \u201cThe Measure of a Man\u201d (\u201cLa loi du march\u00e9\u201d, 2015), \u201cAt War\u201d (\u201cEn guerre\u201d, 2018) and \u201cAnother World\u201d (\u201cUn autre monde\u201d, 2021), each depict modern capitalist work practices from a different perspective \u2013 with Lindon being a jobseeker, a union leader and a corporate group director in turn \u2013 but the overarching message is clear: no one is comfortable in post-industrial capitalism.<br><br>The fact that Vincent Lindon plays all three roles is of vital importance; it highlights the unpredictability of human fate and of modern labour markets: the same person presenting annual performance metrics at a shareholder conference one day could easily be out of a job the next. Instead of recounting their storylines, it is more valuable to identify different perspectives on and reactions to the shared challenges that life presents for each of these three characters.<br><br>First, Lindon experiences the highs and lows of marriage in all three films, but social class and societal expectations become more restrictive as he becomes a more prominent actor on the corporate stage: as a job-seeker, he receives the warm support of his wife who motivates him to advance in the laborious labyrinthine job search although she is by no means an expert. As a union leader he is already divorced but maintains a solid relationship with his daughter. As a company director he has a wall full of tender family pictures, but this opening shot in \u201cAnother World\u201d contrasts starkly with the vindictive exchange between two divorce lawyers: \u201cMy client has already accepted the divorce; hence one cannot impose everything on him and he cannot accept everything.\u201d \u2013 \u201cFor my client, her daily life has become hell.\u201d<a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftn1\">[1]<\/a>&nbsp;And then, suddenly, a bit of humanity bursts into the legal protocol, as the wife speaks directly at her husband: &nbsp;\u201cAt the time, I didn\u2019t sign for you to bring all your problems back home!\u201d\u201c This reference to their prenup, a classic upper-class device to separate and give to each party what they contributed, suggests that the responsibility of caring for their disabled child and smiling politely at corporate events was never recognised.<br><br>Second, all protagonists have a child. The children also reflect their parent\u2019s status: the blue collar labourer has a son with a physical disability, whereas the white collar \u2018knowledge worker\u2019 has a child with a cognitive disability. There are multiple scenes with these children present directly or indirectly (via photos or videos), but the genuine feeling of a happy carefree family emerges only once in each film: the dancing scene in \u201e The Measure of a Man \u201d , when the parents return from their weekly salsa class and then dance with the disabled child in their cramped living room; the frisbee scene in \u201cAnother World\u201d, when the father finally takes time off to visit his son in his psychiatric clinic and plays with him in the garden; and the hospital visit in \u201cAt War\u201d, which Lindon makes to his &nbsp;daughter, who has just had a baby in a different town. In all three scenes, the music becomes quieter until it becomes silent. Pure human emotions don\u2019t need any supporting soundtrack.<br><br>Third, all families consider moving house in order to respond to their changing needs. Their external move reflects the internal discomfort with their situation, their duties and constraints: the CEO\u2019s family moves into a huge, modern house with a glass fa\u00e7ade (to simulate transparency) in order to visually consolidate the father\u2019s professional advancement and buy some external calm in their carefully manicured garden \u2013 here, behind the concrete entrance and the security cameras, there are some moments of peace. The poorer family in \u201eThe Measure of a Man\u201d are asked by their bank manager whether they would be willing to sell their flat to mitigate their cashflow problems and Lindon rejects the proposition emphatically: \u201eThat would be as if\u2026as if everything we\u2019ve done\u2026doesn\u2019t lead anywhere, all for nothing! Being a renter at my age\u2026just: no!\u201d.<a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftn2\">[2]<\/a>&nbsp;The bank manager initially accepts, but then keeps upselling: \u201cIn your precarious situation, have you considered insurance, life insurance?\u201d. She already foresees an indebted customer \u2013 hence the additional squeeze. Instead of selling their flat, the family eventually tries to sell their camping van by the seaside. &nbsp;A couple who saw the listing comes to view the van, they like it and then try to haggle down the price. Lindon first refuses the negotiation outright, then gets very agitated as numbers are expressed: the van was priced at 7,000 Euros and now that the potential viewers have seen it (and measured the area with their own devices \u2013 scam!?), they suggest 6,200 (Lindon is shocked), then 6,300 (still shocked), then he storms out as the haggling continues. He had offered to \u2019haggle-down\u2019, but in his proud imagination he had foreseen \u201cat most 6,900\u201d as the acceptable baseline. That shows: \u201cThe Measure of a Man\u201d. In \u201cAt War\u201d, by contrast there is no home at all, just in-between places. Workbenches, hospitals, supermarkets. There is no site of respite in the flaming factory of&nbsp;life.<br><br>Fourth, the use of technology in all three films multiplies the eyes watching each other, much more than the video interview which the jobseeker Lindon undergoes in his living room (which Briz\u00e9 has described as \u201cviolent\u201d and \u201cdisrespectful\u201d despite the fact that we never get to see the interviewer) are the surveillance cameras that are present in all of the films. When Lindon is a security guard in \u201cA Measure of a Man\u201d, each customer and each isle can be observed from the Foucauldian panopticon of the control room. The rhythm of beeping tills when products are scanned becomes louder and louder until human faces disappear in the blur\u2026until the cashier is observed making a mistake. She swipes her own loyalty card to reduce customers\u2019 bills if they forget theirs or don\u2019t have any at all. This small act of human kindness leads to an intense interrogation, in which the cashier initially denies any impropriety until the overseer asks Lindon to play the clip recording the \u201cerror\u201d and \u201cinjustice\u201d, as the overseer calls it. The overseer makes one low-level employee expose another low-level employee, discrediting the trusting class solidarity that is visible between them. Loyalty points are only for loyal customers with a loyalty card. For the corporation this thinking should be innate, but the cashier defends herself by playing into the employer\u2019s stereotype of her as a silly, uneducated woman: \u201cWe didn\u2019t receive any training on loyalty cards, no training on loyalty\u201d.&nbsp;<a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftn3\">[3]<\/a><br><br>Finally, all films experiment with the concept, the identification and the location of responsibility. In \u201cAnother World\u201d the acting is very good, even if Lindon seems a bit too rough for the role of a rehearsed, polished, impersonal CEO. This CEO takes performance enhancing drugs in the bathroom, washes his hands as meticulously as possible after firing people and then takes sleeping pills to numb his conscience in the evening. Everything seems artificial. The relationship with his pale, tense wife (perfectly cast with the Breton Sandrine Kiberlain) has also been reduced to practical, transactional conversations. When the wife asks repeatedly when they could go on holiday, Lindon says, \u201cI told you in advance that, as long as the group hasn\u2019t decided, it will be difficult\u201d. The husband cannot decide as long as he is in the company\u2019s grip. &nbsp;Kiberlain responds perfectly to expose the transfer of responsibility: \u201cThe group, the group\u2026 and what about me? I am married to the Elsonn group!\u201d.<a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftn4\">[4]<\/a><br><br>The group guides all decisions, even the most painful ones. The group is profitable. Why fire people when the business is profitable? Because it may not be profitable enough. The Elsonn group made a profit of 3.5 % in the year preceding the strike \u2013 14 million Euros \u2013 and yet, the target was 7 %. If the annual performance was below target, all employees must get ready for cuts. When the CEO is asked directly why jobs must be cut even though there was an increase in shareholder value, Lindon responds like a brainwashed soldier: \u201cYou raise a question to which the group has neither asked us to respond, nor to think about.\u201d<a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftn5\">[5]<\/a>&nbsp;No responding, no thinking. No human intervention is permitted in the unstoppable logic of capitalist growth.<br><br>Lindon is excellent in all three films, but his performance in \u201cAt War\u201d is outstanding. The broad frame, the rough voice and the volcanic fire in his eyes make the whole film sizzle with energy. The Brecht quote at the beginning of the film seems to have infused his whole body: \u201cThose who fight, may lose; but those who don\u2019t fight at all have already lost.\u201d<a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftn6\">[6]<\/a>&nbsp; Any attempt to fight is commendable in principle, but the methods vary widely. The union leader makes clear that the big corporations, no matter their disagreements, are sticking together. At the beginning, the Perrin Industries employees are united too \u2013 one \u2019cadre\u2019 (university-educated knowledge worker) even joins the manual workers in suit and tie amidst the flaming factory. As the strike continues, however, \u2018factionalism<strong>\u2019<\/strong>&nbsp;appears. A subgroup has been talking to the management about a settlement payment to end the gridlock. They even managed to haggle the initial offer of the group up from 17,000 to 25,000 Euros per employee \u2013 a successful fight of sorts. Some are impressed and find the offer attractive; others are sceptical of this submission to \u201cbribery\u201d and expose the trick: \u201eI don\u2019t fight for the settlement. I fight for a cheque which we will all get every single month!\u201d \u201c<a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftn7\">[7]<\/a>&nbsp;&nbsp;Importantly, in French the special settlement is called \u201cla supral\u00e9gale\u201d \u2013 an agreement not just outside, but above the&nbsp;law.<br><br>This summarises the power dynamics in all three films: the law provides a framework for all, but those in power can always find ways to circumvent it. This precarity of the status of human beings in capitalism \u2013 rightsholder? master? servant? victim? \u2013 is at the heart of Briz\u00e9\u2019s trilogy.<br><br>Dr. Astrid Hampe-Nathaniel is a policy consultant with a focus on education and labour market policies. She has lived in Austria, France, the UK and the US, which allowed her to see different forms of capitalism firsthand.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftnref1\">[1]<\/a>&nbsp;\u201cMonsieur a d\u00e9j\u00e0 accept\u00e9 le divorce. Du coup, on ne peut pas tout lui imposer et il ne peut pas tout accepter.\u201d \u2013 \u201cMa cliente\u2026son quotidien est devenu un enfer\u201d A l\u2019\u00e9poque, je n\u2019ai pas sign\u00e9 pour que tu ram\u00e8nes tous tes probl\u00e8mes \u00e0 la maison&nbsp;!\u201c<br><a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftnref2\">[2]<\/a>&nbsp;\u201c\u00c7a serait comme si\u2026 comme si tout ce qu\u2019on avait fait, \u00e7a sert \u00e0 rien! A mon \u00e2ge, \u00eatre locataire \u2013 c\u2019est\u2026 non!\u201c<br><a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftnref3\">[3]<\/a>&nbsp;\u201cOn n\u2019a pas re\u00e7u de formation sur les cartes de fid\u00e9lit\u00e9, pas de formation sur la fid\u00e9lit\u00e9\u201d.<br><a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftnref4\">[4]<\/a>&nbsp;\u201cLe groupe, le groupe\u2026 et moi&nbsp;? Je suis mari\u00e9e au groupe Elsonn!\u201d<br><a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftnref5\">[5]<\/a>&nbsp;\u201cTu poses une question \u00e0 laquelle le groupe ne nous a demand\u00e9 ni de r\u00e9pondre, ni de r\u00e9fl\u00e9chir.\u201d<br><a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftnref6\">[6]<\/a>&nbsp;\u201cWer k\u00e4mpft, kann verlieren; aber wer gar nicht k\u00e4mpft, der hat bereits verloren\u201d.<br><a href=\"https:\/\/work-o-witch.at\/labour-struggles-on-screen-stephane-brize-vincent-lindon-s-work-trilogy\/#_ftnref7\">[7]<\/a>&nbsp;Je ne me bats pas pour la supral\u00e9gale! Je me bats pour un ch\u00e8que qu\u2018on va tous toucher chaque mois!\u201d.<\/p>\n\n\n\n<div style=\"height:32px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n<\/div>\n<\/div><\/div>\n\n\n<style>.kadence-column2556_ce58fa-40 > .kt-inside-inner-col{display:flex;}.kadence-column2556_ce58fa-40 > .kt-inside-inner-col{padding-right:var(--global-kb-spacing-md, 2rem);padding-bottom:var(--global-kb-spacing-lg, 3rem);padding-left:var(--global-kb-spacing-3xl, 6.5rem);}.kadence-column2556_ce58fa-40 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column2556_ce58fa-40 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}.kadence-column2556_ce58fa-40 > .kt-inside-inner-col > .aligncenter{width:100%;}.kt-row-column-wrap > .kadence-column2556_ce58fa-40{align-self:flex-start;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2556_ce58fa-40{align-self:auto;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2556_ce58fa-40 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}.kadence-column2556_ce58fa-40 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column2556_ce58fa-40{position:relative;}@media all and (max-width: 1024px){.kadence-column2556_ce58fa-40 > .kt-inside-inner-col{padding-left:var(--global-kb-spacing-md, 2rem);flex-direction:column;justify-content:flex-start;}}@media all and (max-width: 1024px){.kt-row-column-wrap > .kadence-column2556_ce58fa-40{align-self:flex-start;}}@media all and (max-width: 1024px){.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2556_ce58fa-40{align-self:auto;}}@media all and (max-width: 1024px){.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2556_ce58fa-40 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}}@media all and (max-width: 767px){.kadence-column2556_ce58fa-40 > .kt-inside-inner-col{padding-right:var(--global-kb-spacing-sm, 1.5rem);padding-left:var(--global-kb-spacing-sm, 1.5rem);flex-direction:column;justify-content:flex-start;}.kt-row-column-wrap > .kadence-column2556_ce58fa-40{align-self:flex-start;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2556_ce58fa-40{align-self:auto;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2556_ce58fa-40 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column2556_ce58fa-40 kb-section-dir-vertical inner-column-2\"><div class=\"kt-inside-inner-col\">\n<div style=\"height:500px\" aria-hidden=\"true\" class=\"wp-block-spacer wp-block-hidden-mobile\"><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-9790f0ff wp-block-group-is-layout-constrained\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\" style=\"margin-top:0;margin-bottom:0\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Measure of a Man \/ La Loi du march\u00e9 (2015) - Trailer English Subs\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/53dyUDeEVGw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:12px;text-transform:uppercase\">La Loi du march\u00e9 \/The Measure of a Man) (FR 2015), St\u00e9phane Briz\u00e9, Trailer<\/p>\n<\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-9790f0ff wp-block-group-is-layout-constrained\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\" style=\"margin-top:0;margin-bottom:0\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"At War (en guerre) | Trailer | Vincent Lindon | Dir St\u00e9phane Briz\u00e9 | French, English subtitled\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/KW6h5nM085U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:12px;text-transform:uppercase\">En guerre \/ At War (2018 FR), St\u00e9phane Briz\u00e9, Trailer<\/p>\n<\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-9790f0ff wp-block-group-is-layout-constrained\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\" style=\"margin-top:0;margin-bottom:0\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"ANOTHER WORLD - Official HD Trailer (2022) - Only In Cinemas\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HeHOKBv-l7k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:12px;text-transform:uppercase\">An autre monde \/ Another World (2021, FR), St\u00e9phane Briz\u00e9, Trailer<\/p>\n<\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-9790f0ff wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-uagb-image uagb-block-23bd74ea wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none is-style-rounded\"><figure class=\"wp-block-uagb-image__figure\"><img decoding=\"async\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/08\/streik01-1224x720-1-1024x602.jpg\" alt=\"\" class=\"uag-image-2989\" width=\"1024\" height=\"576\" title=\"streik01-1224x720-1\" loading=\"lazy\" role=\"img\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-ee2332cf wp-block-group-is-layout-constrained\">\n<p class=\"has-ast-global-color-1-color has-text-color has-link-color wp-elements-1 wp-block-paragraph\" style=\"font-size:12px;text-transform:uppercase\">At War (2018), Filmstill<br>\u00a9 Nord-Ouest Films<\/p>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:48px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-9790f0ff wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-uagb-image uagb-block-23bd74ea wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none is-style-rounded\"><figure class=\"wp-block-uagb-image__figure\"><img decoding=\"async\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/08\/streik03-1224x720-1-1024x602.jpg\" alt=\"\" class=\"uag-image-2990\" width=\"1024\" height=\"576\" title=\"streik03-1224x720-1\" loading=\"lazy\" role=\"img\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-ee2332cf wp-block-group-is-layout-constrained\">\n<p class=\"has-ast-global-color-1-color has-text-color has-link-color wp-elements-2 wp-block-paragraph\" style=\"font-size:12px;text-transform:uppercase\">At War (2018), Filmstill<br>\u00a9 Nord-Ouest Films<\/p>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:48px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-9790f0ff wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-uagb-image uagb-block-23bd74ea wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none is-style-rounded\"><figure class=\"wp-block-uagb-image__figure\"><img decoding=\"async\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/08\/d201f0dd-5dab-4c12-a586-2aff0676c8af.jpeg\" alt=\"\" class=\"uag-image-2991\" width=\"1024\" height=\"576\" title=\"d201f0dd-5dab-4c12-a586-2aff0676c8af\" loading=\"lazy\" role=\"img\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-ee2332cf wp-block-group-is-layout-constrained\">\n<p class=\"has-ast-global-color-1-color has-text-color has-link-color wp-elements-3 wp-block-paragraph\" style=\"font-size:12px;text-transform:uppercase\">Another World (2021), Filmstill<br>\u00a9 Nord-Ouest Films<\/p>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:48px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-9790f0ff wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-uagb-image uagb-block-eaa3d3ef wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none is-style-rounded\"><figure class=\"wp-block-uagb-image__figure\"><img decoding=\"async\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/08\/brize_un_autre_monde.jpg\" alt=\"\" class=\"uag-image-2992\" width=\"1024\" height=\"576\" title=\"brize_un_autre_monde\" loading=\"lazy\" role=\"img\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-ee2332cf wp-block-group-is-layout-constrained\">\n<p class=\"has-ast-global-color-1-color has-text-color has-link-color wp-elements-4 wp-block-paragraph\" style=\"font-size:12px;text-transform:uppercase\">Another World (2021), Filmstill<br>\u00a9 Nord-Ouest Films<\/p>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:48px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-9790f0ff wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-uagb-image uagb-block-e5d9017d wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none is-style-rounded\"><figure class=\"wp-block-uagb-image__figure\"><img decoding=\"async\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/08\/9711177a-e052-46eb-8e50-8f447b99955b.jpeg\" alt=\"\" class=\"uag-image-2993\" width=\"1024\" height=\"576\" title=\"9711177a-e052-46eb-8e50-8f447b99955b\" loading=\"lazy\" role=\"img\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-ee2332cf wp-block-group-is-layout-constrained\">\n<p class=\"has-ast-global-color-1-color has-text-color has-link-color wp-elements-5 wp-block-paragraph\" style=\"font-size:12px;text-transform:uppercase\">Another World (2021), Filmstill<br>\u00a9 Nord-Ouest Films<\/p>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:48px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-9790f0ff wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-uagb-image uagb-block-99bf8c5c wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none is-style-rounded\"><figure class=\"wp-block-uagb-image__figure\"><img decoding=\"async\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/08\/cfbbded5-07a0-4406-adb3-783e9f5ad3ae-1024x540.webp\" alt=\"\" class=\"uag-image-2994\" width=\"1024\" height=\"576\" title=\"cfbbded5-07a0-4406-adb3-783e9f5ad3ae\" loading=\"lazy\" role=\"img\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-container-core-group-is-layout-ee2332cf wp-block-group-is-layout-constrained\">\n<p class=\"has-ast-global-color-1-color has-text-color has-link-color wp-elements-6 wp-block-paragraph\" style=\"font-size:12px;text-transform:uppercase\">he Measure of a Man (2015), Filmstill<br>\u00a9 Nord-Ouest Films<\/p>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:48px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Tags  <strong>\u2501\u2501\u2501\u2501<strong>\u2501<\/strong>\u2501<strong>\u2501\u2501\u2501<strong>\u2501<\/strong>\u2501<\/strong><\/strong><\/p>\n\n\n<div style=\"text-transform:uppercase\" class=\"taxonomy-post_tag wp-block-post-terms has-small-font-size\"><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/jobseeker\/\" rel=\"tag\">jobseeker<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/labour-struggle\/\" rel=\"tag\">labour struggle<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/post-industrial-capitalism\/\" rel=\"tag\">post-industrial capitalism<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/stephane-brize\/\" rel=\"tag\">St\u00e9phane Briz\u00e9<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/trilogy\/\" rel=\"tag\">trilogy<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/union-leader\/\" rel=\"tag\">union leader<\/a><\/div><\/div><\/div>\n\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Briz\u00e9\u2019s gripping work trilogy\u2014The Measure of a Man (2015), At War (2018), and Another World (2021)\u2014all starring French powerhouse Vincent Lindon, stands as one of the most compelling cinematic explorations of labour markets in today\u2019s capitalism. A discussion about his thought-provoking films in this forum has long been overdue.<\/p>","protected":false},"author":1,"featured_media":2995,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center 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gripping work trilogy\u2014The Measure of a Man (2015), At War (2018), and Another World (2021)\u2014all starring French powerhouse Vincent Lindon, stands as one of the most compelling cinematic explorations of labour markets in today\u2019s capitalism. A discussion about his thought-provoking films in this forum has long been overdue.","_links":{"self":[{"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/posts\/2556","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/comments?post=2556"}],"version-history":[{"count":18,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/posts\/2556\/revisions"}],"predecessor-version":[{"id":3166,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/posts\/2556\/revisions\/3166"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/media\/2995"}],"wp:attachment":[{"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/media?parent=2556"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/categories?post=2556"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/tags?post=2556"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}