{"id":2775,"date":"2023-04-15T20:12:00","date_gmt":"2023-04-15T18:12:00","guid":{"rendered":"https:\/\/arbeits-film-festival.at\/?p=2775"},"modified":"2026-09-16T12:18:05","modified_gmt":"2026-09-16T10:18:05","slug":"bossnapping-a-la-cantona","status":"publish","type":"post","link":"https:\/\/arbeits-film-festival.at\/en\/2023\/04\/15\/bossnapping-a-la-cantona\/","title":{"rendered":"Bossnapping \u00e0 la Cantona"},"content":{"rendered":"<style>.kb-row-layout-wrap.wp-block-kadence-rowlayout.kb-row-layout-id2775_88299a-f9{margin-top:0px;margin-bottom:0px;}.kb-row-layout-id2775_88299a-f9 > .kt-row-column-wrap{align-content:center;}:where(.kb-row-layout-id2775_88299a-f9 > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:center;}.kb-row-layout-id2775_88299a-f9 > .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:0px;padding-right:0px;padding-bottom:0px;min-height:852px;grid-template-columns:minmax(0, 2fr) minmax(0, 1fr);}.kb-row-layout-id2775_88299a-f9{--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-id2775_88299a-f9{background-color:rgba(17,17,17,0);}.kb-row-layout-id2775_88299a-f9 > .kt-row-layout-overlay{opacity:0.30;}.kb-row-layout-id2775_88299a-f9{z-index:906;position:relative;}@media all and (min-width: 1025px){.kb-row-layout-id2775_88299a-f9 > .kt-row-column-wrap > .wp-block-kadence-column:nth-child(1 of *:not(style)){margin-inline-start:calc( 0px *-1 );margin-inline-start:var(--breakout-negative-margin-left);}.kb-row-layout-id2775_88299a-f9 > .kt-row-column-wrap 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wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-left-golden kt-tab-layout-left-golden kt-mobile-layout-row kt-row-valign-middle kt-inner-column-height-full kb-theme-content-width\">\n<style>.kadence-column2775_d4967e-a5 > .kt-inside-inner-col{display:flex;}.kadence-column2775_d4967e-a5 > .kt-inside-inner-col{min-height:600px;}.kadence-column2775_d4967e-a5 > .kt-inside-inner-col,.kadence-column2775_d4967e-a5 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column2775_d4967e-a5 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column2775_d4967e-a5 > .kt-inside-inner-col{flex-direction:column-reverse;justify-content:flex-start;}.kadence-column2775_d4967e-a5 > .kt-inside-inner-col > .aligncenter{width:100%;}.kt-row-column-wrap > .kadence-column2775_d4967e-a5{align-self:flex-start;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_d4967e-a5{align-self:auto;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_d4967e-a5 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}.kadence-column2775_d4967e-a5 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column2775_d4967e-a5{position:relative;}@media all and (max-width: 1024px){.kt-row-column-wrap > .kadence-column2775_d4967e-a5{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-column2775_d4967e-a5{align-self:auto;}}@media all and (max-width: 1024px){.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_d4967e-a5 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}}@media all and (max-width: 1024px){.kadence-column2775_d4967e-a5 > .kt-inside-inner-col{flex-direction:column-reverse;justify-content:flex-start;}}@media all and (max-width: 1024px){.kadence-column2775_d4967e-a5, .kt-inside-inner-col > .kadence-column2775_d4967e-a5:not(.specificity){margin-left:-25%;}}@media all and (max-width: 767px){.kadence-column2775_d4967e-a5 > .kt-inside-inner-col{min-height:300px;flex-direction:column-reverse;justify-content:flex-start;}.kt-row-column-wrap > .kadence-column2775_d4967e-a5{align-self:flex-start;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_d4967e-a5{align-self:auto;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_d4967e-a5 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}.kadence-column2775_d4967e-a5, .kt-inside-inner-col > .kadence-column2775_d4967e-a5:not(.specificity){margin-top:0%;margin-right:0%;margin-bottom:0%;margin-left:0%;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column2775_d4967e-a5 kb-section-dir-vertical-reverse inner-column-1\"><div class=\"kt-inside-inner-col\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1400\" height=\"788\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited.jpg\" alt=\"\" class=\"wp-image-2780\" srcset=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited.jpg 1400w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-300x169.jpg 300w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-1024x576.jpg 1024w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-768x432.jpg 768w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-18x10.jpg 18w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-1320x743.jpg 1320w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\" \/><\/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>Bossnapping \u00e0 la Cantona<\/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\">Reinhold Gaubitsch&nbsp;\u2014 15.04.2023<\/p>\n<\/div>\n\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"text-transform:none\"><strong>In the last two decades in particular, disputes between management and workers in France have become increasingly intense. The so-called \"bossnapping\", the hostage taking of management, masterfully staged by \u00c9ric Cantona in the Netflix series \u2018Inhuman Resources\u2019 (2020), provides a telling example.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Netflix series Inhuman Ressources (French:  D\u00e9rapages, 2020) directed by Ziad Doueiri is based on the 2010 novel Cadre Noir by the successful French crime writer and Prix Goncourt prize winner Pierre Lemaitre, who also adapted the book to the screenplay. The series deals with incidents and upheavals in the world of work in France, which can be considered unique in their frequency and level of harshness, and culminates in the company management being taken hostage. Real-life examples are provided by&nbsp;<em>Caterpillar<\/em>&nbsp;(Grenoble 2009),&nbsp;<em>Goodyear Tire &amp; Rubber<\/em>&nbsp;(Amiens 2014) and more recently&nbsp;<em>Renault<\/em>&nbsp;(Caudan 2021).<br><br>France T\u00e9l\u00e9com offers an additional insight into the impact of extreme levels of stress in particular areas of the world of work.&nbsp;<em>France T\u00e9l\u00e9com<\/em>An alarming number of suicides were recorded there, 34 in total, between the years 2008 and 2011. For the media it was deemed as a consequence of the canonisation of economic success criteria, the transition to project-based organisation and the self-attribution of failures on the part of the employees.<br><br>Against the backdrop of globalisation and the relocation of companies or parts of companies abroad, the French labour market has come under particular pressure. In the years 1995 to 2001, job losses due to outsourcing averaged 13,500 jobs per year. Unemployment increased to 9.6% in 2000 and remained high at 9.1% in 2010, long-term unemployment behaved the same, 42.6% in 2000 and 40.1% respectively in 2010.<br><br>Returning to Inhuman Ressources, Alain Delambre \u2014 famously embodied by \u00c9ric Cantona \u2014 a 57-year-old long-term unemployed former human relations manager who applies for a similar job at a large corporation through a recruitment agency. His habitus seems to fit, yet his age speaks against him, but his advantage is a certain \u201ccoarseness\u201d that fits the job profile, as the company is planning a factory closure and numerous layoffs and are looking for a human resources manager to handle it.<br><br>The entrance test is organised as a role play with two aims where leading managers of the company are to be tested also for their stress resistance and loyalty to the company through a hostage-taking scenario. It is the candidate\u2019s responsibility to tell the \u201cfake\u201d hostage-takers how to act via headsets, i.e. to efficiently push the hostages to the limit of their psychological resilience in order to elicit company secrets under exceptional emotional strain. It is through this method, the candidate is supposed to qualify.<br><br>This role-play scenario actually took place in a similar way: On 25 Oct. 2005 at the Romainville chateau in Ecquevilly 12 people from the advertising department of France T\u00e9l\u00e9visions are supposedly taking part in \u201ca seminar\u201d. The planning is the responsibility of the general director of the department, whose intention is to test the stress resistance of his closest colleagues. A group of terrorists take the seminar participants hostage and demand a ransom of one million euros and the broadcast of a pre-recorded video on a \u201cFrance 2\u201d news programme.<br><br>As the bossnapping unfolds Delambre, is made aware that the coveted position has long since been promised to his rival, nevertheless keeps up appearances unfazed for the time being and surrenders to the procedure.<br><br>However, he pursues his own course and takes all those present as actual hostages. (That he uses this situation to gain access to incriminating documents that will later allow him to blackmail the company is just one of the many twists in the series.) A monologue ensues, where Delambre begins with the words \u201cnow the unemployed are in power\u201d and continues in an aggressive manner with his view of the predicament his is currently in. Armed with a pistol, he becomes violent against those he thinks are to blame for his own situation, and the situation in general. Delambre thus transforms the disturbing game into violence. He argues for a balance of possibilities and justifies his actions as self-defence:<br><br><em>\u2018Our strategy was to adopt theirs. They are terrorising executives. I am doing the same thing. They were all armed. So, I was armed. They were testing reactions in personnel. I was more than ready to test those guys. It is my opinion that Big Business is sort of the old Wild West. To stay alive, have a fire arm. And be able to shoot down someone who want wants to shoot you first.\u2019<\/em><br><br>The representation of the theme of recruitment in \u2018Inhuman Ressources\u2019 is in some ways unparalleled: in the course of the action, Delambre demands to be recruited at gunpoint. Although this is only meant as a gesture, it sets the scene for the reversal of power, a power that is otherwise always reserved for personnel management or top management. Opposing camps collide \u2014 where agreement is neither sought nor possible; the violent conflict between capital and labour governs the action. \u2018Inhuman Ressources\u2019 \u2014 probably not a coincidence for a film like this set in France?<br><br><strong>Dr. Reinhold Gaubitsch<\/strong>&nbsp;is a political scientist and was, until his retirement, project manager in the Department of Labor Market and Career Information of the Public Employment Service Austria and responsible, among other things, for vocational guidance films.<br><br><em>Reference:<\/em><br>AFP-Report in: THESTRAITSTIMES vom 28. 4. 2021, \u201eBoss-napping\u201c returns as angry French workers seize managers<br>Aubert, Patrick &amp; Patrick Sillard (2005).&nbsp;<a href=\"https:\/\/work-o-witch.at\/bossnapping-a-la-cantona-2\/THESTRAITSTIMES%20vom%2028.%204.%202021,%20%E2%80%9EBoss-napping%E2%80%9C%20returns%20as%20angry%20French%20workers%20seize%20managers\">D\u00e9localisation et r\u00e9ductions d\u2019effectifs dans l\u2019industrie fran\u00e7aise, L\u2019\u00e9conomie fran\u00e7aise: comptes et dossiers<\/a>, Ed. 2005\u20132006 pp. 57\u201389<br>franceinfo (6.5.2019).&nbsp;<a href=\"https:\/\/www.francetvinfo.fr\/economie\/emploi\/carriere\/vie-professionnelle\/sante-au-travail\/suicides-a-france-telecom-l-article-a-lire-pour-comprendre-pourquoi-orange-se-retrouve-devant-la-justice_3423431.html\">Suicides \u00e0 France T\u00e9l\u00e9com: l\u2019article \u00e0 lire pour tout comprendre de cette affaire embl\u00e9matiquede la souffrance au travail<\/a><br>Lemaitre, Pierre (2010). Cadre Noir, Calmann-L\u00e9vy Noir<br>OCDE<a href=\"https:\/\/data.oecd.org\/fr\/unemp\/taux-de-chomage-de-longue-duree.htm\">, Taux de ch\u00f4mage de longue dur\u00e9e<\/a><br>Wessbecher, Louise, Huffpost (23.4.2020). \u201e<a href=\"https:\/\/www.huffingtonpost.fr\/culture\/article\/derapages-sur-arte-l-histoire-vraie-d-une-fausse-prise-d-otage-chez-france-televisions_162992.html\">D\u00e9rapages\u201csur Arte: l\u2019histoire vraie d\u2019une (fausse) prise d\u2019otage chez France T\u00e9l\u00e9visions<\/a><\/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-column2775_4f9000-73 > .kt-inside-inner-col{display:flex;}.kadence-column2775_4f9000-73 > .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-column2775_4f9000-73 > .kt-inside-inner-col,.kadence-column2775_4f9000-73 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column2775_4f9000-73 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column2775_4f9000-73 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}.kadence-column2775_4f9000-73 > .kt-inside-inner-col > .aligncenter{width:100%;}.kt-row-column-wrap > .kadence-column2775_4f9000-73{align-self:flex-start;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_4f9000-73{align-self:auto;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_4f9000-73 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}.kadence-column2775_4f9000-73 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column2775_4f9000-73{position:relative;}@media all and (max-width: 1024px){.kadence-column2775_4f9000-73 > .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-column2775_4f9000-73{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-column2775_4f9000-73{align-self:auto;}}@media all and (max-width: 1024px){.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_4f9000-73 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}}@media all and (max-width: 767px){.kadence-column2775_4f9000-73 > .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-column2775_4f9000-73{align-self:flex-start;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_4f9000-73{align-self:auto;}.kt-inner-column-height-full:not(.kt-has-1-columns) > .wp-block-kadence-column.kadence-column2775_4f9000-73 > .kt-inside-inner-col{flex-direction:column;justify-content:flex-start;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column2775_4f9000-73 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-ee2332cf 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<div class=\"responsive-container\"><iframe loading=\"lazy\" title=\"Bande annonce de D\u00e9rapages (S\u00e9rie ARTE, Mandarin T\u00e9l\u00e9vision 2020) - ARTE, Netflix\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/o7vTy8hiEE4?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><\/div>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:var(--wp--preset--spacing--30);font-size:12px;text-transform:uppercase\">D\u00e9rapages, FR 2020, Regie: Ziad Doueiri, ARTE\/Netflix<\/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-ee2332cf wp-block-group-is-layout-constrained\">\n<figure class=\"wp-block-image size-full\" style=\"margin-top:0;margin-bottom:0\"><img loading=\"lazy\" decoding=\"async\" width=\"315\" height=\"140\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Firmenchef.jpg\" alt=\"\" class=\"wp-image-2776\" srcset=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Firmenchef.jpg 315w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Firmenchef-300x133.jpg 300w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Firmenchef-18x8.jpg 18w\" sizes=\"auto, (max-width: 315px) 100vw, 315px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:var(--wp--preset--spacing--30);font-size:12px;text-transform:uppercase\">D\u00e9rapages, FR 2020, Filmstill<br>\u00a9 ARTE\/Netflix<\/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-ee2332cf wp-block-group-is-layout-constrained\">\n<figure class=\"wp-block-image size-full\" style=\"margin-top:0;margin-bottom:0\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"405\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Geiselnahme.jpg\" alt=\"\" class=\"wp-image-2777\" srcset=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Geiselnahme.jpg 720w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Geiselnahme-300x169.jpg 300w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Geiselnahme-18x10.jpg 18w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:var(--wp--preset--spacing--30);font-size:12px;text-transform:uppercase\">D\u00e9rapages, FR 2020, Filmstill<br>\u00a9 ARTE\/Netflix<\/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-ee2332cf wp-block-group-is-layout-constrained\">\n<figure class=\"wp-block-image size-full\" style=\"margin-top:0;margin-bottom:0\"><img loading=\"lazy\" decoding=\"async\" width=\"970\" height=\"433\" src=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/capture_decran_2020-05-19_a_10.10.04.png\" alt=\"\" class=\"wp-image-2778\" srcset=\"https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/capture_decran_2020-05-19_a_10.10.04.png 970w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/capture_decran_2020-05-19_a_10.10.04-300x134.png 300w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/capture_decran_2020-05-19_a_10.10.04-18x8.png 18w, https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/capture_decran_2020-05-19_a_10.10.04-766x342.png 766w\" sizes=\"auto, (max-width: 970px) 100vw, 970px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:var(--wp--preset--spacing--30);font-size:12px;text-transform:uppercase\">D\u00e9rapages, FR 2020, Filmstill<br>\u00a9 ARTE\/Netflix<\/p>\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\/arte\/\" rel=\"tag\">art<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/bossnapping\/\" rel=\"tag\">Bossnapping<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/eric-cantona\/\" rel=\"tag\">\u00c9ric Cantona<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/frankreich\/\" rel=\"tag\">France<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/geiselnahme\/\" rel=\"tag\">hostage situation<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/human-ressources\/\" rel=\"tag\">Human Ressources<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/netflix\/\" rel=\"tag\">Netflix<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/pierre-lemaitre\/\" rel=\"tag\">Pierre Lemaitre<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/rekrutierung\/\" rel=\"tag\">recruiting<\/a><span class=\"wp-block-post-terms__separator\">, <\/span><a href=\"https:\/\/arbeits-film-festival.at\/en\/tag\/ziad-doueiri\/\" rel=\"tag\">Ziad Doueiri<\/a><\/div><\/div><\/div>\n\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>In the last two decades in particular, disputes between management and workers in France have become increasingly intense. The so-called \"bossnapping\", the hostage taking of management, masterfully staged by \u00c9ric Cantona in the Netflix series \u2018Inhuman Resources\u2019 (2020), provides a telling example.<\/p>","protected":false},"author":1,"featured_media":2780,"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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_rtcl_gb_attr":"","footnotes":"","_links_to":"","_links_to_target":""},"categories":[8],"tags":[48,90,91,92,89,96,93,94,95,97],"class_list":["post-2775","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-work-o-witch","tag-arte","tag-bossnapping","tag-eric-cantona","tag-frankreich","tag-geiselnahme","tag-human-ressources","tag-netflix","tag-pierre-lemaitre","tag-rekrutierung","tag-ziad-doueiri"],"uagb_featured_image_src":{"full":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited.jpg",1400,788,false],"thumbnail":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-150x150.jpg",150,150,true],"medium":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-300x169.jpg",300,169,true],"medium_large":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-768x432.jpg",768,432,true],"large":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-1024x576.jpg",1024,576,true],"1536x1536":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited.jpg",1400,788,false],"2048x2048":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited.jpg",1400,788,false],"trp-custom-language-flag":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-18x10.jpg",18,10,true],"rtcl-gallery":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-924x462.jpg",924,462,true],"rtcl-thumbnail":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-320x240.jpg",320,240,true],"rtcl-gallery-thumbnail":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-150x105.jpg",150,105,true],"mailpoet_newsletter_max":["https:\/\/arbeits-film-festival.at\/wp-content\/uploads\/2026\/09\/Critica_RecInhumanos_FichaTV-edited-1320x743.jpg",1320,743,true]},"uagb_author_info":{"display_name":"administrador","author_link":"https:\/\/arbeits-film-festival.at\/en\/author\/admin\/"},"uagb_comment_info":0,"uagb_excerpt":"Insbesondere in den letzten beiden Jahrzehnten wurden die Auseinandersetzungen zwischen Management und Arbeitnehmer:innen in Frankreich deutlich rauer. Das sogenannte \"Bossnapping\", die Geiselnahme der Gesch\u00e4ftsf\u00fchrung, virtuos von \u00c9ric Cantona in der Netflix-Serie 'D\u00e9rapages' in Szene gesetzt, liefert daf\u00fcr ein bezeichnendes Beispiel.","_links":{"self":[{"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/posts\/2775","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=2775"}],"version-history":[{"count":3,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/posts\/2775\/revisions"}],"predecessor-version":[{"id":2905,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/posts\/2775\/revisions\/2905"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/media\/2780"}],"wp:attachment":[{"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/media?parent=2775"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/categories?post=2775"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arbeits-film-festival.at\/en\/wp-json\/wp\/v2\/tags?post=2775"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}