It’s a woefully familiar situation when the dramatic arts try to engage with current events, only to falter because they arrive before audiences are willing to confront the real-deal traumas they s…
), a New York production company assistant, opening outside her Queens apartment, where a towncar waits to drive her in to the office. She’s the first to arrive, beginning a day of far-from-glamorous tasks: making photocopies, logging her boss’s expenses, opening his mail — responsibilities that are robotically depicted in tight, locked-down shots.
The Australian director, who has previously worked in the nonfiction format , based her screenplay on interviews with former and current assistants in many industries. In the press notes, she describes the film as “a composite of the thousands of stories I’d heard, seen through the eyes of one woman.” So why does the result seem so generic? Though it may seem counterintuitive, specifics have a way of making stories feel universal.
Showbiz jobs tend to be extremely high stress, where supervisors act as if they’re curing cancer and pressure their employees to behave accordingly: They expect instant responses to email, refuse to acknowledge that their underlings have lives beyond work, and want everything done yesterday.
Jane doesn’t have proof, but the indications are manifest, backed by knowing jokes from her colleagues. “I wouldn’t sit there,” they laugh, referring to the couch audiences have seen Jane disinfecting earlier in the film. It’s an open secret, she realizes, and yet there’s no one for Jane to talk to about her mounting discomfort.
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