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The Boss of It All: Lars von Trier's Comedic Deconstruction of Control Who knew Lars von Trier could make us laugh? In "The Boss of It All", he doesn't just satirize corporate culture - he dismantles artistic pretension with surgical comedic precision. The film opens with von Trier himself, reflected in a window, perched in a cherry picker camera dolly - a literal deus ex machina, playing God while simultaneously mocking the very concept of directorial omnipotence. Here, he's gleefully playing God and immediately undermining himself. Using Automavision, a computer program that randomly determines camera angles, von Trier literally relinquishes directorial control. It's a brilliant mirror of the film's narrative: Ravn hiring an actor to be a fictional boss, thus avoiding personal responsibility. The director becomes just another actor in his own absurdist play. Kristoffer, the hired "boss", embodies this perfectly. "I have to consult my character," he says - a line that skewers both corporate role-playing and Dogme 95's Rule 6, which demands that action must be motivated solely by character emotion. It's a delicious mockery of the very artistic constraints von Trier champions. Ultimately, von Trier's message is disarmingly simple: Don't take life - or art - so seriously. It's only life, after all. It may even mirror the "senior six" throwing the beloved Teddy Bear over the cliff. A comedy that's also a profound philosophical joke? This is vintage Lars von Trier!
A manager of a company has made an embezzlement just to make the sweet life possible with his lover. An office manager promises to take the blame if the manager promises to behave better.
Low-level bureaucrat Sam Lowry escapes the monotony of his day-to-day life through a recurring daydream of himself as a virtuous hero saving a beautiful damsel. Investigating a case that led to the wrongful arrest and eventual death of an innocent man instead of wanted terrorist Harry Tuttle, he meets the woman from his daydream, and in trying to help her gets caught in a web of mistaken identities, mindless bureaucracy and lies.
Eight very different couples deal with their love lives in various loosely interrelated tales all set during a frantic month before Christmas in London.
A virus spreads through an office complex causing white collar workers to act out their worst impulses.
Filmmaker Talya Lavie steps into the spotlight with a dark comedy about everyday life for a unit of young female Israeli soldiers. The human resources office at a remote desert base serves as the setting for this cast of characters, who bide their time pushing paper, battling for the top score in Minesweeper, and counting down the minutes until they can return to civilian life. Amidst their boredom and clashing personalities, issues of commitment—from friendship to love and country—are handled with humor and sharp-edged wit.
Mr. Dithers leaves Dagwood in charge of the office for a short period. Poor old Dagwood manages to gum things up when he falls for a confidence scam engineered by the duplicitous Toby Clifton. He even finds himself in a compromising position that seriously endangers his future connubial happiness with his wife Blondie. Once again, it's up to Blondie to straighten out the mess.
As the devoutly single Don Johnston is dumped by his latest girlfriend, he receives an anonymous pink letter informing him that he has a son who may be looking for him.
Two deadbeat photocopier technicians discuss their recently deceased boss, who has been found dead the morning of. The conversation turns sour and some sinister and bizarre truths are revealed.
The employees of Kuri González Shoe Stores loved the idea of Home-Office-in March. After months of confinement, Mirreyes and Godínez are constantly trying to maintain their sanity.
70-year-old widower Ben Whittaker has discovered that retirement isn't all it's cracked up to be. Seizing an opportunity to get back in the game, he becomes a senior intern at an online fashion site, founded and run by Jules Ostin.