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ACT 1
It's gonna rain all day.
We don't cancel, we're going in.
At least I am.
I'm going, okay?
Stand by.
Get out of here!
Back up!
Move it, asshole!
Get out of here!
Get back!
Get lost! Get lost!
Shut the gate!
C'mon! Lock the gate!
They're going around the back!
Block the back exit!
C'mon!
Help us!
Get lost!
Shut off the water!
Cut!
- Sorry. - You fucking idiot.
- I tripped. - You're in the frame!
- Who's that clown? - Jules, he's doing the making-of.
He's a blithering idiot. Did you see that?
Whose kid is he?
No one's. What's your point?
My point? I can't stand him.
- Calm down. - Don't tell me to calm down!
- Another take? - Of course!
Guys, we do it again.
No way!
I know, I know.
Set up the barricades.
We're hungry and cold!
Last take before lunch, I promise.
They treat us like shit.
Get into position!
Corentin, the car.
Moritz, move it!
Places!
Guys! Guys!
We agreed to do the film. You knew it would be 40 days.
- Stop whining. - You're not the boss.
Stop complaining!
No fresh clothes and no bathroom.
You talk to the director?
Impossible, he's never alone.
And he's super pissed off.
We good for the rain?
Simon, everyone's in place.
It's super phony when Nadia opens the door.
No, it was good.
Don't argue with me.
And the clothes are phony for sure.
The wardrobe sucks.
I look like a science teacher.
No one will believe I'm a worker.
- It's true. The scene works? - Yes, it works.
It totally works.
It makes no sense when she opens the door.
- No, it's good. - Look I said it's phony!
What's your name again?
- Where's Jeff? - With the gate group.
Gimme a cig.
I'll buy you a pack tomorrow.
Bravo, guys. You kicked ass.
- How many more takes? - I dunno.
Jeff, one question.
- Did it really happen like that? - What?
Did a girl break in and open the door?
- I can't remember. - We had the keys.
We always had the keys.
So you opened the door?
- Yeah. - Thanks, guys.
Hang on a sec!
Simon, the guys told me it's all wrong, Nadia opening the door is ridiculous.
What?
It's long and laborious. And we sit there waiting.
It's up to us to smash the door in.
It'll take us two minutes.
And what does she do?
I don't know, she stands around.
You can introduce her later.
Otherwise it's not a group effort.
- We can't change now. - Sure we can.
C'mon, it'll take two minutes. Let's try one take.
Okay.
We'll try that.
Let's go, one take.
Alain, set it up.
Forget that camera.
Nadia, you sit this one out.
It's raining, c'mon!
We'll do it with real rain! Camera!
Roll camera!
Camera 2, get ready!
It won't last. Camera!
It's just a shower. Let's use it!
Roll camera!
I didn't say rolling!
It's gonna stop! Rolling!
Cut.
See that?
That's what I call a group effort!
Now I feel it!
What are you doing? No way.
- You can't stay here. - What?
Extras don't eat here. This is the crews' tent.
You gotta leave.
Where do we go?
- You have umbrellas? - No, I don't.
C'mon, let's go.
I'm not eating, I'm an extra.
Who cares? Stay.
Don't just stand there.
I'm not eating. I need to see the director.
- Where's Simon? - On the set, I think.
Excuse me.
Have you seen the director?
No.
Excuse me.
- Where's the director, please? - In the production manager's office.
- Where's that? - Opposite craft services.
Thanks.
I'm looking for the production manager's office.
At the end of the corridor.
Hello, sorry to bother you.
I uh...
I live in the projects here.
I enrolled as an extra for the day to give you my first script.
No one's read it. I'd really like your opinion.
I love everything you've made.
So if you could tell me what you think?
It has my phone number.
Thanks. Sorry, goodbye.
Who's he?
He's wearing a guard's costume.
Why isn't he shooting the making-of? The other guy's crap.
Who cares about the making-of?
No one watches them.
Why can't we fire him? Whose kid is he?
No idea, but it doesn't matter.
What's wrong now?
You have a big budget, a fabulous crew,
a good story and great actors.
You think Alain is great?
You think he's credible?
Absolutely.
He's shit.
He thinks he's authentic.
Don't know why I hired him.
You hired him to get your financing.
Our producer.
Hey, Michel.
Hi, Viviane.
I'm with Simon. We're on speakerphone.
How'd your first morning go?
What's up? Aren't you coming?
Yes, we're about to take the train.
We? Who's "we"?
Beavis and Butthead. I'm waiting for them.
We don't need them.
Courtesy visit.
And they wanted to talk about the script.
We just started shooting. We're not going to rewrite the script.
They have a problem with the ending.
A problem with the ending?
Nothing serious. Don't worry.
Here they are. I have to go, see you in a while.
Beavis and Butthead?
It's the coproducers' nicknames.
What's with the script?
I have no idea, I swear.
If they're coming on Day 1, there's a big problem.
I know them. They wouldn't come for no reason.
I don't give a shit, alright?
They can say what they want, I'm not changing one line.
That's for sure.
Come on!
Cut!
That's a wrap. Thank you everyone, you were great.
Thanks, Nadia.
Take the actors to their trailers.
Simon, Viviane will drive you back to the hotel.
Tell her I'll meet her there.
Okay.
Moritz, tell Viviane that Simon will meet her at the hotel.
Where's the making-of guy?
Jules?
He's at the snack table.
Hey, rain guys! Don't pack it up.
Hey, you. I need you to shoot something.
- Me? - Yes, you.
The day's not over?
Yes, but this is different. I want you to film a producers' meeting.
Okay. Do they know?
No, we're going to take them by surprise.
Do I really have to?
No, you don't. Forget it.
Give me your equipment, I'll find a way.
Where's the extras' room?
Could you call the guy over there?
No, not you. Yes, him.
Yes, you. Come here.
You know how to use a camera like this?
- I think so. - Could you film something for me?
- Of course. When? - Right now.
Okay, sure. Give me one sec.
Great.
Could you start my shift at the pizzeria?
- Does your sister know? - I'll text her.
You're a lifesaver.
Sorry for the delay.
How goes it?
Hi, Simon.
Hi, I'm the studio lawyer.
No joke, your lawyer?
What's the camera for?
He's shooting a kind of making-of. A video diary.
I thought it'd be amusing to film this meeting.
Tell us, why do you want to film?
We came to talk in good faith.
Then what's the problem?
There's no problem.
Well Simon, how was the first day?
It was good.
And your actor?
Is he awesome, or what?
Sensational.
Perfect.
Right, Simon...
We love your project.
We love the final draft of the script.
We're sure it will rock.
There's a tiny issue with the new end.
The new end?
I don't follow. What new end?
The one from last week.
I dunno what you read. The end didn't change, never has.
Yes, it did.
Six months ago we read a film where workers win
and become the factory owners.
Here they lose,
set fire to their machines in despair...
Well, that's my end from my script which never changed.
You better explain.
Explain what?
What don't you get? It's clear.
What's clear?
There were several drafts, as there often are.
Until the final draft you got last week.
Where's the problem?
We financed a film, Marquez, with an optimistic,
up-beat ending.
Here it's a major downer. A call to suicide.
Look, we're not crazy.
Look what we read six months ago.
What the hell is this?
I never wrote this. Never.
If not Simon, who?
It was us, Simon.
Remember? The first draft, the socialist comedy.
A comedy, never.
And then you casted the workers
to play themselves.
You convinced me the film was a tragedy.
He's right. It'll be wonderful.
A classic like Antigone or Hamlet.
Richard III!
We get it. Very nice...
Tragedy, social realism, workers playing themselves.
But isn't it better to have an audience?
Why would a tragedy stop people from flocking to theaters?
People like seeing themselves. It's cathartic.
It is!
Sorry, but...
Screw cathartic.
We're talking about people with hard lives
who go see movies to forget.
We're talking about the secretary on her lunchbreak
who wants a heartwarming story.
She's our target.
Maybe at some point your secretary gets tired
of the same old mush.
Maybe her father or grandfather
was humiliated like Simon's workers
and this will vindicate her.
She won't feel vindicated.
She'll feel bummed. Period.
She'll slam the film back at the office.
That's how a hit works.
Why don't you trust us? This is our job.
Kids, face it.
We're not in the US.
Directors have final cut, thankfully!
So if he doesn't want this end anymore, that's it. Period.
I never did want this end!
Everyone calm down.
Nobody here is against you.
Six months ago,
we read a script that blew us away.
Our staff was in tears.
That ending will make you a hit.
That's what we want for you.
Not my problem. I just want to make my film.
What if we shot two endings?
Then choose the better one.
It'd cost more. But it could work, right Viviane?
We suggested that but our bosses said no way.
They want guarantees.
What guarantees?
That I make your happy end?
It's not a happy end.
Yes, exactly.
Sorry. I have to take this.
- Sorry. - Michel!
Carry on. Be right back.
So...
What do we do?
Look,
these workers went through hell.
Their factory closed. They lost.
Some worked for 50 years. Entire lives.
A whole region collapsed.
Shops and schools closed.
Hundreds out of work.
And it's the same story in town after town.
Because it's everywhere.
People crushed and humiliated by brutal capitalism.
It's bigger than us.
We can't change it to make a dime. It's immoral.
Sorry. The end doesn't change.
Sorry, Simon.
The issue is no longer artistic, but legal.
My clients believe you defrauded them.
They could sue you.
They won't. That's not their policy.
All they ask of you,
is to shoot the draft they approved six months ago.
Or they withdraw.
How much is your investment?
One million euros.
- Marquez knows? - Yes.
He got a cease-and-desist last week.
My two guys are here!
Nobody tells me anything!
How are you?
- Looking good. - You too.
Find the end?
- You know? - Of course.
For two weeks.
No progress. Simon won't budge.
He's the boss.
I'm off to a meeting.
And dinner?
Sure. But Jeff's giving me clothes first.
This is fabulous.
We take it, right? Can we?
I was gonna donate it.
Perfect. Ironed and everything.
This too. We take it.
Pure gold. Fabulous.
A very nice piece.
I look like him, right?
Like your husband.
Not really, no.
It's great.
Tell me,
Jeff went into a deep depression after losing the factory.
He'd been better, but not a deep depression.
He wanted to die. Didn't he try suicide?
He never wanted to die.
Because you came back?
- Came back? - You'd left him, right?
I never left Jeff. Your director made that up.
Why do that?
So you could score a 25-year-old actress.
Let's bounce.
Smells delicious.
- What're you making? - Risotto.
My favorite dish.
Hey, kids!
- What's in it? - Mushrooms we foraged.
- Can I taste? - Sure.
Delicious! Daddy's risotto is good.
Wanna eat with us?
I'd love to.
You're eating with the producers!
Who wants another stomach ache with two buttheads?
This is a family meal.
Sorry, kids.
I got carried away.
Kids, don't say...
I'll get yelled at.
Know I play Dad?
Yes. What's Cathy do?
Drink beer?
What a perceptive child.
Shut up.
- We're joking. - Funny.
Could you give this to the man who just walked by?
Thanks.
I've been looking for you!
- I was waiting for you to go eat. - Yeah, sure.
You left me with those assholes. You're such a coward.
Unbelievable, what you did.
You rewrote the script behind my back!
You lied to me and the studio. Slimeball!
Sorry, Simon.
They shouldn't have seen that draft.
My assistant screwed up.
She accidently sent all the attachments.
She's totally lost, she's a beautician.
With your pick of MBAs, you hire a beautician?
Your problem's women, not money!
You want my balls on a plate?
I want you to wise up.
How were you gonna explain it?
You know how it goes.
If the film's good, nobody cares.
Art is a bank robbery.
A bank robbery? What are you talking about?
What robbery? We lost a million euros in a day.
Without it, the shoot is over.
Nothing is over.
I'm 300,000 in the red.
We're at sea. We go for it.
Go for it? But how?
By doing nothing.
- What do I tell the crew? - Nothing.
Pretend it's okay. Shoot.
I'll go back and find investors.
With this cast, they'll line up outside the door.
Don't worry. Let's go join Beavis and Butthead.
You're eating with them?
I'm turning in.
Any new ideas to pitch?
No.
I've been shooting one day. Just one.
I'm totally exhausted.
At this rate, I'll never make it.
Let Marquez do his job.
He'll solve this.
No, he won't. He's a screw-up.
He's starting to believe his own lies.
His antics tire me.
He doesn't see that the world has changed.
He's done for and so am I.
Why haven't I left him?
You never will.
What do you mean?
You need him.
I need him? You're kidding. He needs me.
Truth is, he's your personal racketeer.
My racketeer?
He does your dirty work. It suits you.
Is that how you see it?
That's harsh.
Sorry. I'll call you back. I haven't finished my day.
I miss you.
I miss all of you.
I keep calling the kids. They don't answer.
Me neither.
But you see them every day. Are they well?
Fine.
Bring them this weekend.
I doubt they'd want to. They're not 5 anymore.
And you?
- Me? - Why don't you come?
- I can't. - Next weekend.
No, neither weekend. I'm not coming.
We have to stop pretending.
Pretending what?
We said we'd split up 6 months ago. You act like it doesn't exist.
Once you're home, we'll get organized.
This can't continue.
Meaning?
I'll move out.
I disagree.
With what?
I disagree with you moving out.
I have no choice.
You've always called the shots from the start.
Then you move out.
I don't want to split up.
I don't want to.
What are you saying?
You chose work long ago. We don't exist.
That's not true. You count more than anything.
Without you, I collapse.
You don't even believe that.
You know it.
Listen, you exhaust me. I can't carry you.
But I can.
That's a lie.
You can't even carry yourself.
I don't know what you're saying.
It's not important anymore.
I've been on call 72 hours.
I still have emails to answer.
Leave me alone now. Goodbye and good luck.
Love you.
It's Simon, the film director.
One minute.
Anything wrong? I left the camera at the hotel.
No, it's not that.
I wanted to thank you and apologize.
What for?
For having you take part in that repulsive meeting.
It was trash. The cinema isn't always like that.
I don't think anything.
It was super instructive and I was glad to help you.
You know, I was thinking...
This video diary is a good idea.
This film is going to be an unimaginable mess.
Maybe even my last film.
So I want to have a memory.
You interested?
A making-of?
Maybe more than that.
Isn't someone doing that?
He's lousy, he just had connections. I'll have him play a worker.
He'll be thrilled to do nothing.
Interested?
You bet I am.
Sure.
But you know, it's every day.
Don't you work?
Yes, at my sister's restaurant, but I'll sort it out.
See you tomorrow at the factory.
I'll be there, you can count on me.
Thank you very much.
See you tomorrow.
Shit!
They're not ready?
No, I burnt them.
You get here two hours late and you screw up?
I got a super important call.
The director wants me to shoot the making-of.
- The what? - The film about the film.
- You can do that? - You go every day and film.
You kidding? Every day?
Of course, a film shoot is every day.
- You didn't say no? - No way, are you crazy?
- Why not? - Because I'm dying to do it.
Of course I didn't say no. Are you nuts?
And how will I get by?
Ludo will work lunches and me nights.
I can't declare someone.
I'll pay him in cash.
What cash?
What I make on the shoot. Leave me alone, I can't concentrate.
The most important thing
was to stop them from taking the machine to Poland.
We did it.
That's right, we did it.
For that alone, congratulations. You were heroic.
The real question now...
is do we...
Do we decide to go further or not?
Do we want to take over the factory
and become our own bosses?
Take your time to think.
Because if we do,
there will be sacrifices.
You won't have wages.
You won't see your families.
The combat will be long and the bosses will do us no favors.
But one thing is certain.
This is my conviction.
If we stick together...
if we remain united...
we'll win.
Who wants to try
to build a cooperative?
Who wants to try
to self-manage the factory?
SELF-MANAGEMENT
FREE WORKERS
ACT 2
Hey.
Simon, what a pleasure! How are you?
I'm with Viviane. She can't reach you.
Hi.
Hey, Viviane.
So, how are things going?
We're moving along.
You find a backer?
No, not yet. Why?
Because it's Week 3 and my costs are too high.
Any hard decisions need to be made now.
I found a guy who's super interested.
I'm seeing him on Monday.
You said that last week. Is it him?
No, this guy is for real.
You mean the other guy wasn't?
Yes, of course.
What I mean is...
I'm closer to signing with this one.
If he backs out, what do we do?
Worst case, I've got a Qatari media group.
Qatari? What's this nonsense?
I didn't get to tell you.
It's some guys I met at the Berlin festival.
They want to get into production in France.
The subtleties of your scripts won't bother them,
they don't speak a word of French.
Don't fret, in two weeks it's settled.
Two weeks? Are you kidding?
In two weeks the film will be done.
"Two weeks" was a figure of speech.
Hey guys, I'm late. A taxi is waiting, I have a meeting.
A meeting? At 7 AM in your bathrobe?
- He's got nothing. He's bluffing. - You sure?
Yes, I know him by heart.
- Are you alright? - No.
- Where's your meds? - I'm out.
Shit.
Simon's not feeling well. Anyone have a sedative? Lithium? Cognac?
I only got coke.
This mean we're not shooting?
Anyone?
We can't hide the situation anymore.
Our main financer backed out two weeks ago.
We lost one million euros and haven't found a new partner yet.
I need to lower costs or else we won't finish the shoot.
Without your help, we won't make it.
I won't touch your wages.
But I can't pay surcharges.
No more paid transport or night hours
and of course no more overtime.
We'll put people up in local accommodations.
Vacation rentals and so on.
First question: do you team leaders want to carry on working
under these conditions?
Sure.
Not like we have a choice.
We do, but we can't speak for our teams.
That's the second question. Do you think your teams will go along?
They should be okay, except for maybe the key grip.
Then would he volunteer to leave?
You'll have to ask him, but I need a replacement.
We'll find one.
And you?
My team will be quick.
With enough booze and cigs, my boom operator will sleep in a hut.
We're cool.
- Art department? - My team is fine.
They're happy here. They love Simon and the project.
They'll make an effort.
You think anyone would want to leave?
What do you mean?
I need to lower payroll. I can't fire people, I need volunteers.
Why would they leave? They're happy here.
Not just you.
Could you all talk to your teams
and see if anyone would want to leave?
Who'd we replace them with?
We won't replace them. I need to lower payroll.
But who will do the work?
We'll hire locals.
Locals?
Locals who are on unemployment or who...
Oh yeah, them.
What about the actors?
Will they kick in? You gonna put them up with locals?
Alain practically lives with Jeff.
True.
We'll ask the actors to make efforts.
Meaning?
We'll ask them to take royalties instead of pay.
We'll start calling their agents.
This only works if no one informs Health & Safety Inspection.
Are we done?
We need your word there'll be no more overtime.
Simon, since it's no longer paid, can you promise that?
What do you think?
I think it's impossible to promise.
Every day is crammed full. I have no leeway.
Then cut the script.
Yeah.
The cemetery scene?
No problem.
Wasn't that already cut?
Simon put it back in before we started.
I don't see it.
We were going to shoot it off the cuff.
Then it's not a cut.
We need to lighten up the schedule.
- Do we cut it? - No, it changes nothing.
Yes, we cut it. Stop it, Simon.
- Can we be serious? - I'm very serious.
What's your take on the scene?
- Me? - Yes.
- What I really think? - Yes.
It's weird.
Weird? Could you be more precise?
Like it's not really in the mood of the film.
Talking to his father is important.
I didn't need it to understand.
It's not about understanding, it's about feeling.
It's a metaphor.
Their world is dead, they're burying their illusions.
Right now, we're burying ourselves.
Can we get back to work?
The scene with Jim and Oudia
in the car on their way to the bank.
Can't we arrive straight at the bank?
Where do we put the dialogue?
Either you cut it or put it while they're waiting at the bank.
That's a good idea.
The car scene will save us lots of time.
Why don't we cut the bank scene altogether?
It's not particularly sexy.
Two bums sitting opposite a guy in a tie.
They could tell the story in the following scene.
No, this is where capitalism slams the door in their faces!
This is the heart of the film.
It's the first time we see them together and the start of their relation.
The fundraiser at the supermarket?
It would save a bundle.
- Very good. - No, that would be a shame.
- You'll cut nothing? - Yes!
What? Which scenes?
The scene where the lawyer explains self-management is a bit long.
It's a tunnel.
And it's unintelligible.
Unintelligible?
And I know labor law.
So if I don't get it, who will?
I can't concentrate.
I'll look this over alone in my hotel room tonight.
Damn pains. Fuck them all.
The management still refuses your self-management proposal
and the courts okayed their redundancy scheme.
- You're messing with us, Mansour! - Me?
I'm retired.
I could be soaking up the sun in the south.
But I'm here for you.
So don't get mad at me.
Get mad at your asshole bosses.
They want to wear us out.
They'll never let go of their factory.
No, nothing's lost.
We'll appeal.
How long will that take?
Hard to say, up to six months.
Hang on a sec. Six more months without pay?
You must be kidding, are you crazy?
It's a strike.
You wait and you fight.
We can't be patient, we're stretched to the limit.
Sorry, but...
Marie and me won't be able to.
We both work here.
We have no other income.
We got a mortgage, bills and a car.
We can't get by, it's impossible.
One more month and we're on the street with our kids.
I've hit rock bottom.
We all have!
I can't believe you guys.
What you're saying is crazy.
All that for this?
- Concretely... - No, give me two seconds.
All that for this?
Did we take this factory over for nothing?
Keeping that machine means nothing?
We were surveilled,
beaten and lied to.
And you want to stop now?
You can't break down now.
They're doing everything they can to make us give up.
They're manipulating you.
So what do we do concretely?
We're talking about families kicked out on the street.
- Kids who need to eat. - And I'm talking about holding out.
I'm talking about eating.
It's the same for everyone.
But if we can't hold out now,
we'll never run the factory.
We started this, we need to carry on. We're not cowards.
Listen here, you're living in a fantasy world.
That's what being a boss is.
- It means taking risks. - Stop it!
You're mixing everything up!
Everyone here is taking risks.
We don't need you lecturing us.
We need to find a more equitable system to help people get by.
We need to pool our resources.
Like a kitty.
People with kids should get more.
And people with a spouse who works elsewhere get a little less.
We'll do the same when we manage the factory.
People who are sick will be paid
and we'll divide overtime hours according to need.
We'll take risks together.
We're going to be free workers!
United!
Stop!
Cut!
This is bullshit.
Why'd you cut? It was fantastic.
Everyone's improvising.
No one's improvising.
The script, please.
Look, it's exactly what's written.
C'mon, Nadia, it's not the Bible either.
That's not even the point.
I'm telling you, it was great.
No, it wasn't.
The only great thing was Mansour, who has cool things to say.
With Nadia, I don't believe a word.
We read it dozens of times. We agreed.
- It works. - We're not reading.
This is the real thing.
The real factory. We're dressed like them.
I feel it inside, this is real.
This isn't an act.
My character is a jerk.
I'm a jerk who yells at everyone.
I'm sorry Jeff, I don't do you justice.
What do you want?
You want the camera on you the whole time?
- This isn't about my ego. - Yes, it is.
No, I'm in your film 100 percent.
I've felt it from the start!
Then you know that it's a collective story.
Everyone counts and you need to leave room for others.
I'm the one who's talking about the group.
The real counts but this is the movies. We need to move people.
We need to move the public. I'm not moved.
Are you moved?
You're the public.
Tell me, are you moved?
Who's moved?
No one, everyone's bored as shit.
- That's real! - No one here is bored!
I'm the one who knows.
I'll tell you very calmly.
The public won't understand why I'm being crushed like a turd, okay?
So give me a phrase so that I can at least counterattack.
Excuse me?
No, Simon, that's enough.
This time, don't give in. No phrases.
His phrase will become a monologue and we'll only see him.
Nadia, mind your business.
Let me exist too.
You, shut up.
Shut
your fucking mouth!
Stop pretending to defend the film or the workers.
Everyone knows you only care about you!
You might be a big star, bravo!
But above all, you're a fucking bastard!
A piece of shit!
Simon, I'm telling you.
I hope you were filming this, because it was exceptional.
Exceptional! Nadia, that's exactly what we want!
Do it in the scene! She's drooling, it's fabulous.
Did you get that?
You're leaving, really?
You're leaving. Fuck.
That settles that.
Nadia, open up.
I'm sorry. This shoot is a mess.
It's my fault. I'm under too much pressure.
It's better if we talk inside, right?
Things will change from now on.
We'll plan each day. We'll rehearse scenes.
No more screwing around. I promise.
Nadia?
I've got the whole crew on my back.
Money's tight...
You can't walk off in the middle of the day!
It's not possible. We can't afford it! Understand?
Fine, stay in your trailer! I don't fucking care!
Workers, technicians, screw all of you!
Deal with it. I'm leaving. It's a wrap.
Simon! Where are you going?
The hotel.
- How? - On foot.
Nadia?
Find Nadia. She's not in her trailer.
I'll catch Simon.
Simon, wait!
Nadia!
Should I go?
No, please stay.
Got a cigarette?
No, sorry.
What did Simon say?
Is he furious?
He split. To the hotel.
Oh shit.
It's horrible. He didn't need that.
He must hate me.
Don't worry. Alain wins in that category.
I wish he would die.
This is my first big role.
I've waited so long and he ruins it.
He hasn't ruined it. You'll be great.
You said what was on everyone's mind.
You're our hero.
Can I ask you a question?
How does an extra get to shoot the making-of?
It just happened. It was pure luck.
I came to give Simon a script and it just happened.
You wrote a script?
You want to direct?
Yes. Since I was little.
I'm obsessed.
I binge on movies. Bug everyone about it.
They laugh, but I believe.
You never tried?
I went to Nantes after high school to study cinema, but...
It sucked. A lot of shitty jobs.
I wanted to go to Paris.
My dad got sick. He and my mom left.
My sister got stuck with the restaurant and needed my help.
Now I'm trapped.
To you it's a film set. But it's my entire life.
I grew up over there.
I went to school there.
That big high rise...
is where I live now.
Is there a view of the factory?
It's a wrap, thank you.
You're saved. They're packing up.
Mind waiting? I don't wanna show my face.
How'll you get to the hotel?
Got a motorcycle?
What?
Screw the hotel!
It happened right here.
They started arguing about a phone.
It got more and more heated.
My friend pretended to leave,
then came back and threw a rock.
Except it hit the guy in the head.
He collapsed.
Blood started gushing. I told my friend to split.
I called an ambulance. Tried my best to do first aid.
But the guy died before help arrived.
In the following months, I stood by my friend.
Told him it wasn't his fault.
That it was an accident.
He wouldn't listen.
He started...
doing stupid stuff.
Then actual crimes.
He got caught once...
Twice.
Until they put him in jail.
There he hung himself in his cell.
That's your script?
Well, in my script I wrote he was with his girlfriend.
I'd like you to play that role.
How's your film going?
The crew's pissed, the cast is unmanageable...
And I'm trying to shorten my script.
But I can't.
It's a nightmare.
Maybe I'll call the studio
and shoot their end.
You're incapable.
You can't make concessions.
What's the studio's ending?
A totally cheesy happy ending.
Happy is good. French films are so depressing!
You should make action movies with hot chicks.
Funny, huh?
I want to see hot chicks too.
You're the only hot chick I know.
That's the nicest thing you've ever said.
My pills ran out. Could you email me a prescription?
That won't work.
I'll send it from the hospital.
How about bringing it here?
300 miles? I have other things on my plate.
Really, like what? Do you have a lover?
I wish!
Cough it up, kids.
Who's Mom's lover? A family friend?
No way! Don't start.
This concerns you too.
You're being a creep.
A real creep.
The dishes!
Quit having desert in your room!
I'm seeing friends. Love you, Dad.
- Clear your plate! - I'm in a hurry.
- I find them strange. - Who?
The kids. They tell me nothing.
You don't show much interest.
You're ice-cold.
It's awful.
It can't end like this.
None of it was real? Our discussions, our talks?
Our feelings... our love?
Was it all lies?
Stop it.
No, it wasn't lies.
- So why are we separating? - Stop...
I won't have this discussion online. Never again!
Come home and we'll talk.
Simon?
I'm on your side.
Please know I'm your ally.
We're on the cusp of a masterpiece,
a little gem.
I'm with you.
You can talk to me anytime, anywhere.
Just ask me.
I'm your associate, your partner.
Nobody's ever offered me a role like this.
You in the shower?
I'll come back in ten minutes.
Nadia, it's Alain.
I wanted to apologize for earlier. Really...
I was a shit. A real shit.
And... I'm ashamed.
That was no way to speak to you.
Nothing justifies addressing another human being that way.
So I sincerely apologize.
I really want to make peace.
It's important for us...
but for the film too.
Our love has to be credible.
Just like that, you're leaving?
Honestly, that's shitty.
Only the factory matters.
You know that's not true.
You're always on my mind.
If I was single, I'd go to Poland no problem!
Soon you'll have nothing left.
What?
What'll I lose? Nothing at all, got that?
Not the factory.
- You don't get it. - What don't I get? What?
We didn't lose the factory. Far from it.
Enough of that! You kill me!
Know what time it is?
- Wanna fuck? - I want to work.
No. You're a fucking pain!
- Hey, Marion. - What?
- Jeff here? - Sure.
We have to rehearse for tomorrow.
Don't worry, I won't stay long.
I've been fighting for you and the kids for weeks.
Just like that, you're leaving?
That's shitty.
Only the factory matters.
Don't you dare say that! That's not true.
You're always on my mind! I want us to stay here together.
If I was single, I'd go to Poland.
Soon you'll have nothing left.
Don't say things you don't know about.
I still have the factory.
- You don't get it. - What? What don't I get?
What?
It's over. I can't anymore.
Are you trying to kill me?
Don't leave me. I'm nothing without you.
Nothing!
Not bad. What do you think?
- Honestly? - Yeah.
Do you have to shout so much?
You're right.
You're so right.
It should be more interior.
It'll be more impactful. Obviously.
Be quiet! The kids are trying to sleep!
So sorry.
The next one will be more interior.
It'll be more... straight.
Could you read?
Sorry, Jeff. It's just too weird.
Who's that?
Sorry, I know it's late.
I need to talk to Jeff.
He's with Alain.
Shit.
I looked everywhere for you.
- I'm here. - Are you okay?
Hi Simon. Thirsty?
No, thanks.
I have something important to discuss.
All ears.
Yeah, we're all ears.
I'm about to accept the studio's end.
What is it?
A happy ending.
The factory stays put. The workers take it over.
What we wanted.
Why not? If it gives people hope.
Why not?
But what do you think?
I'd rather the film tell the truth.
But I support you, whatever you decide.
The others?
They'll support you too.
Thanks.
See you tomorrow.
Wait, Simon. Are you two serious?
Don't do that, Simon.
No! We're not giving into two asshole producers
who know zero about movies, zero about workers.
Sorry, don't change a line. Change nothing, Simon!
You wrote one helluva tragedy,
we're gonna make a helluva tragedy.
You feel ready to talk to me? About real stuff.
You asked me
to talk about me and my work.
It's not easy, but I'll try to be honest.
Even if I no longer know what the word "honest" means.
- You asked me to do your portrait. - That's true.
But talking about yourself isn't easy.
Does a film about factory workers have meaning in today's world?
When I think of my script,
I feel like my main character.
The captain of a ship that's adrift.
My project is a burden and I feel alone.
Oftentimes.
But solitude is part of the game. I accept it.
I accept it now.
Help me instead of filming.
No, keep filming. This is the truth.
I had the same dream on my first shoots.
I got to the studio in the morning
and no one was there.
Not anywhere.
And I'd scream: "Where are you all?"
It was so scary, it would wake me up.
That's your making-of?
Well, it's a first cut.
It makes no sense.
What?
I mean, there are no images of the film crew.
That's on purpose. It's the portrait of a filmmaker.
But you can't show only that.
Why not?
That's not a film shoot.
Sorry, yes it is.
For me, it's about the filmmaker's solitude.
His combat.
Not at all.
He's a conductor surrounded by his musicians.
No, he's a loner.
That's totally stupid.
Get interested in people.
Everyone has a story and they inspire the director.
Open your eyes.
Have you talked to Aurelie, the caterer?
Her life is amazing.
Or Jeff? He's brilliant and profound.
Or the guard? Thank God he was there.
He opened the door, gave me cigs and the story goes on.
A film is a collective undertaking.
That's totally naive.
Change the guard, caterer or even an actor and the film's the same.
You're depressing. So we're puppets in the creator's hands?
Excuse me, but without a director and a script
you got nothing so forget it.
I'm going.
- Where you going? - To the hotel.
- Wait, I'll take you. - I'll get a taxi.
- There are none. - I'll call one.
We're not downtown.
You think I've always lived downtown?
Wait.
Stay a while.
I'll make dinner, we'll have a drink and I'll bring you back.
No.
I can't, I have a boyfriend.
I'm sorry.
I wasn't trying to take advantage.
Shut up.
Who's your sweetheart?
A famous actor?
No.
A guy from my neighborhood. We met in high school.
So it's a big story.
Long is more like it.
It never ends.
I've tried to leave him for years but we're too close.
There's too much past.
It's complicated.
ACT 3
Sorry, I'm late.
So... Day 24.
Day 24.
The crew's exhausted. They're zombies.
And I feel much better.
I even think we're going to finish this film.
Moreover,
thanks to my insomnia,
I read an excellent script last night.
Really? What was it about?
A young man who lives nearby here.
You read my script?
I couldn't put it down.
I loved it.
I even felt a twinge of jealousy.
The jealousy of a guy who's washed-up.
Direct, simple, sincere.
Everything I can no longer do.
He was my best friend.
We wanted to make movies but he quit on me.
Quit on you?
He killed himself.
Oh yeah? Like in the script.
You're right to stick to it.
You'll make movies. You're made for this, it's obvious.
It's about time. I left dozens of messages.
Sorry, I wasn't feeling well.
I had some heart exams.
Oh yeah? You okay?
Fine, don't worry. Is Simon there?
We don't sleep together yet. Why?
It's all over. I wasn't able to refinance the film.
My bank accounts are frozen, I can't get a penny.
The crew's gotta finish with no pay.
Are you serious?
Yes, I am. I have no other solution.
Does Simon know?
No.
Not yet. You tell him.
No way, I'm not telling anyone.
You get on a train and tell everyone in person.
I'll look at the schedule and let you know when I arrive.
Tomorrow we go to labor court.
The moment of truth.
You'll appear one by one.
The bosses will try to intimidate you, destabilize you,
and make you break down.
So they'll up the severance pay.
Rumor has it, they'll go to 100,000 euros.
To carry on, we need to take a count.
Who's ready to leave with pay?
Be courageous.
At least be honest, guys.
We didn't come this far to lie to each other.
Who'll take the money?
Mehdi and I will take it.
We did the math.
For us, that's 200,000 euros.
We can pay our debts, save a bit and start a small business.
Okay.
Good luck in business.
Who else?
I'll take it too.
Who else?
I'll settle too.
I've lost faith.
We're sure to fail.
I'll take it.
100 grand's a lot.
I'll split on vacation and get stoned for 6 months.
Don't give a fuck.
Go ahead and laugh, it's funny.
I'll take it too.
- You'll take it? - Yeah.
Retirement is in two years
and I'm fed up of fighting.
I'm tired.
Who else, people?
Then it's all over.
What can I say?
Congratulations, everyone.
They won.
Their bonuses put the nail in the coffin.
I'm telling you and Mansour agrees...
They'll never sell the factory to just 30 of us.
It's over.
You know it.
Try to understand. 100,000 euros is huge for us.
I want you to understand.
We do what we can.
What you can what?
You're caving for 100,000!
We fought for this factory for months.
You got no right to guilt trip us! It's disgusting!
Don't shout or say I don't have the right.
I speak the truth and you don't want to hear it.
I understand.
But this is the truth.
We fought for months for nothing.
And as far as I'm concerned, anyone who accepts is a collaborator.
Cowards.
And that's the truth too.
Fuck, man. Do you hear yourself?
You're busting our fucking balls.
I'm busting your balls?
That's all you got to say?
I've been here for days!
Day and night.
To save this factory and I bust your balls?
Find a better argument because you're shitting on me.
You've lost touch.
You don't realize how much pressure you put on us.
It's unbelievable, I swear.
We exchanged one boss for another. That wasn't the plan.
I'm the problem?
Of course you're the problem.
You guys think so too?
Yeah.
I'm the problem?
I got some good news. No more problem, I'm leaving.
Figure it out.
You guys aren't fair.
We're here thanks to him.
And if you get your damn checks, it'll be thanks to him too.
Remember that when you're sitting tight with your money.
Shut up!
You're dictators. Worse than the bosses.
Fuck you! You know what?
Start your little business. What'll you be?
Small-timers with the banks on your backs?
Shut your big mouth!
You're really leaving?
It's not a joke?
Without you it's over.
Nothing's left.
I'm tired.
My wife took the kids and left.
I wanna go home and forget everything.
Stop it.
You can't do that.
For yourself.
For everyone. You can't leave us now.
Please.
Stay.
Cut.
Magnificent.
Raise the light.
It's in the frame.
You liked kissing him?
Seriously?
I'm just doing my job.
What's your deal?
Nothing.
Tell me.
What is it?
You've been avoiding me for two days.
No dinners, texts, nothing.
I wonder what's up.
My boyfriend's here.
He freaks if I leave the room.
He's on my case. Sorry.
Time to go!
Nadia, we're ready.
Coming.
Meet me at my trailer after work.
Great. Nadia is here. Places, everyone.
For pick-ups.
- Rolling. Mark. - 62/2, first take.
Marked.
Listen...
You can't abandon us now.
Again.
I'm tired.
Hurry! Only an hour of daylight left.
This is a disaster.
Shit!
Stop it.
We suck.
Stay focused.
Here goes.
I don't see you on the platform.
I'm double-parked.
I'm on the footbridge.
Don't tell me you didn't come!
Son of a bitch!
Is Michel with you?
He was here. I thought he went home this morning.
Sorry. Gotta go.
It's Viviane. Put Michel on.
Don't be a dick! Put him on.
He has to be with you!
You're all fucking assholes!
Sorry, where's Nadia?
She left for the hotel.
Nadia, Joseph. I'm downstairs at the party.
I'll wait for you.
Excuse me.
Stop playing please.
This won't take long.
Can you get the crew together for an announcement?
Gather round, please.
You, in the back...
C'mon. Viviane has an announcement.
Sorry to interrupt the party. This won't take long.
We have a big decision to make about the rest of the shoot.
Here's the situation.
Our accounts are frozen, we're flat broke,
and I have no way to pay you.
What are you trying to tell us?
Either we finish the film unpaid, or go home tomorrow.
I know it sounds harsh,
but we have no choice.
It's out of our hands.
Effective next week or immediately?
You don't get it. We're dry.
I don't have a single penny.
So two weeks unpaid?
Will we ever get paid?
No guarantee.
Marquez vanished and left me alone to deal with it.
This is blackmail!
- No! - It's shitty, Viviane.
No, it's the truth. I'm flat broke too.
So who wants to continue unpaid?
Us big earners are one thing.
But others can't afford to lose two weeks' salary.
No way.
I never work for free.
Me neither.
You already fired my intern.
I'm not a volunteer.
We understand and respect your personal positions.
But we have to make a decision now.
So I propose a vote.
You have a gun to our heads. Let us discuss it.
It's now or never if we want to shoot tomorrow.
Simon, you have nothing to say?
Say what? I'm for finishing the film,
but I can't force anyone.
I'm staying, Simon.
Asshole.
Kiss-up!
Us too.
Ass-kissers!
Let's get it over with.
Who's staying?
No way!
We'll stay.
Got it. 2, 3, 4, 5, 6, 7, 8.
It's settled. We stop tonight.
Are you kidding?
We've busted ass for weeks. We can't stop now!
And the workers? Who'll tell them?
It's a nightmare for them.
They get fired a second time. You're okay with that?
Are you guilt tripping us?
- No. - Yes, you are.
We're just like the workers.
Who'll tell them?
You will, right?
He's right.
Simon, you're doing exactly what your film condemns.
Stop. End of discussion.
We shouldn't have asked you.
The shoot is over. We'll resume when we can pay you.
Thank you.
How dare you compare yourself to workers?
Know how privileged you are?
I've worked in a factory. I earned a quarter of what we make.
I worked hard and bought my catering truck.
I worked on paid and unpaid films. Point is, we're lucky.
She's right.
We're artists.
You're an artist.
I lift heavy shit all day long. My back's broken.
Nobody asks my opinion, fine.
But no more dumb speeches.
You're all a bunch of morons.
I'm part of this film too. Can I speak?
You're sabotaging a great film.
You're fucking morons.
You don't quit for two weeks of wages.
For two weeks you deprive an artist of his film?
- You're all morons. - You're nuts. Two weeks' pay?
That's huge. Go on, give up your salary.
Wanna know how much I'm paid? In residuals.
Know what that is? I get zero.
If the film flops, I get nothing.
Excuse me.
What'll you do? I'm going to cry.
You make a mill per film.
He can't even buy a drink.
You're the cheapskate!
Pay our salaries.
- I paid for my drink. - Don't lecture me.
- Shut up. - Sorry?
- What? - I said shut up.
- Don't you dare! - You're just a little pest.
Stop it!
Get that camera out of my face!
This isn't reality TV!
Fuck you and your bullshit speeches.
I'll take you to court!
Psychopath.
I'm sorry.
I'll be fine.
Dumb idea, the making-of.
It may be the only film.
- You think? - He said it. We stop tonight.
Right, Simon?
Exactly.
You were bluffing. With one week to go?
There has to be a solution.
Yes, there is.
You okay?
- Can I borrow your car? - Why?
I'm going to Paris. I need to see my wife.
No way.
We need to talk to the crew again tomorrow morning.
I'll be back, I promise.
Look at you. You can't drive alone.
Go with him.
No car license.
You're fired.
- I'm unpaid. - Who isn't?
I'll find you a driver.
See all the cars passing you?
This trip will take three days.
Pull over. I've had it.
- Where? - The shoulder!
- Here! - That's illegal.
Did I ask you? C'mon.
Pull over.
Scoot over. Move!
Get out of here!
Everything fell apart.
- What did? - The shoot's over.
- What? - The film's over tonight.
Are you nuts?
I'm going crazy without you!
- I wanna scream! - I know.
No, please stop!
- What's going on? - Butt out.
- Who's he? - Dunno. Go home.
- What's between you? - Shut up, okay?
- What? - You're not welcome here! Get it?
Ignore him.
- What's his deal? - He's drunk.
What's your problem?
You're a loser, man! She's afraid to say it.
I never said that!
Come over here.
Stop it!
Go back into the room.
You, get lost.
Go home!
C'mon. Move, move!
Move! Asshole!
Sorry. Won't happen again.
Just missed the date of a lifetime.
Are you okay? Where were you?
I'm here now.
What happened?
Don't touch me.
Don't touch!
Cool down. It's time that shoot ended.
It won't end.
What?
This isn't my life. I want to make movies!
It's not your world. You'll never succeed.
You guys stopped me.
No, we didn't.
You did! Because all you see is family, this shitty life.
Understand?
No, not a word.
- You're mean. - I'm suffocating.
Suffocating! I hate it here.
I won't be like you.
I won't rot in this fucking pizzeria.
It's just me.
What're you doing?
Is your shoot over?
I'm driving back. I needed to see you, to talk.
I'm going to call the studio and do their ending.
Why?
Because I lost.
Capitalism won.
I have to accept defeat.
But it's not important.
I let this film take over my life.
I thought things would work out between us.
But as time passed...
I felt us growing apart.
I was losing you.
I don't want to lose you.
I want us to give it one last try.
Spend time together.
Keep the cinema at a distance.
I'd even stop if you asked me.
I'd never ask you that.
It's your life.
No, my life is my family.
You.
It's too late.
It's over.
I'm coming. Wait in the car.
Okay, but we have to go.
- Do you want to drive? - No, that's okay.
Can I ask you a question?
Sure.
It's bothered me from the start.
Whose kid are you?
What do you mean?
Who pulled strings for you?
No one.
I sent my résumé and they called me back.
You mean, you're no one's kid?
I'm my parents' kid.
Are you okay?
No.
I'm not okay at all.
Can you stop at the next gas station?
Don't get all upset, it's not serious.
It's very serious.
You can ruin lives.
You ruined nothing. I'm super happy to be in your film.
It's a great experience.
I talked to the lawyer.
We lost.
We have to leave the factory tomorrow morning.
I gotta tell everyone. I swear...
I don't know how to.
So tomorrow it's over?
Yes.
We won't lay down and die.
Right?
C'mon, guys, speed it up!
Get a move on!
Come on!
That's enough.
Stand back.
Cut!
That's it. Thank you.
- You got it? - Yes.
It's a wrap and the end of the shoot.
And the last scene with the workers!
Good job.
See, we always find a way.
This time, I really thought the film would kill me.
Nothing can kill you.
You're a lion, a phoenix.
You can tell me now.
How'd you find the money to finish the film?
I did nothing. You did it all.
Your hospitalization allowed me to file an insurance claim
and they forked over 300,000.
And you finished your film. You're a genius.
You're the genius, an evil genius.
Complain.
I'll get you films for 20 years.
This is the last one. I'm done.
It did me in.
I can't go on.
Oh yeah?
It's true.
I'm going to rest up.
Straighten my life out.
Live.
Bullshit.
No one leaves the movies. We die on stage.
Did you calculate your retirement?
You'll get nothing.
You'll be bored stiff before six months.
The movies are a hard drug.
Hey, Joseph! Come here.
Dude.
Everyone's saying you wrote a fantastic screenplay.
Did you? How old's your main character?
- Eighteen. - Can't you age him?
- Why? - I'll play him for you.
Ask Viviane for my phone number and call me.
We'll talk. I'm serious.
- Don't be shy. - Okay.
See ya.
- You're leaving me? - Yep.
You're a pain.
- You'll miss me. - Have a good life.
Good job! Park behind the bushes!
Why not behind the tree?
Yeah?
I heard you're leaving?
I can't stay, sorry.
I gotta go.
I didn't want you to leave without saying goodbye.
I'm glad.
That's it? Everything's over?
It feels strange.
You know what you'll do?
I'm going to Paris.
I'll try to find work on shoots.
And a producer for my film.
You got a place to crash?
A few people here offered me a spare bed.
I have one too.
Okay, thanks.
Sorry for last time. I wasn't myself.
I left him.
1, 2, 3, let's go!
Subtitles: Julie Meyer & David Pickering