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72 Votes / creators - Kitty Green / 1H 25 minutes / genre - Drama / movie Info - Follows one day in the life of Jane (Julia Garner), a recent college graduate and aspiring film producer, who has recently landed her dream job as a junior assistant to a powerful entertainment mogul. Her day is much like any other assistant's - making coffee, changing the paper in the copy machine, ordering lunch, arranging travel, taking phone messages, onboarding a new hire. But as Jane follows her daily routine, she, and we, grow increasingly aware of the abuse that insidiously colors every aspect of her work day, an accumulation of degradations against which Jane decides to take a stand, only to discover the true depth of the system into which she has entered / &ref(https://m.media-amazon.com/images/M/MV5BMjBkMDZkNjctNmZhNi00Mzc5LTk0OTctNzFlMDExYzM3ZDNhXkEyXkFqcGdeQXVyNDY2MjcyOTQ@._V1_UY113_CR0,0,76,113_AL_.jpg)
The assistants book. The assistant movie near me. The assistant movie where to watch. The assistant showtimes. The assistant paw patrol. The assistant trailer. The assistant rotten tomatoes. I wouldnt call writer-director Kitty Greens The Assistant, hitting theaters Jan. 31, a strictly #MeToo era film. Of course, the plot obviously has much to do with the Harvey Weinstein reckoning (with a trial that is currently underway) as well as the larger conversation around gendered abuses of power in public and professional spheres. But more specifically, this is a film about the U. S. film industrys failure to support workers rights?especially those of workers who are part of historically marginalized communities. The right to not be abused?sexually, emotionally, or otherwise?at work should always be at the center of these conversations. But for years and years, the film industry, from the production assistants (in offices and on set) to leading talent, has refused to take the conditions of its most junior employees seriously; the rub is that many of the employees who have managed to climb the ranks are in some way complicit in aiding the abuse. The Assistant follows, with close-ups and a patient yet eerily still camera, recent Northwestern graduate and aspiring film producer Jane (Julia Garner) who has been working as an assistant to a high-powered film producer for five weeks. As the most junior assistant of three?the other two assistants are men?she must be the first to arrive, in the cold darkness of a New York winter, and the last to leave. She also works weekends. Jane lives in an apartment in a small old building in Astoria, and we first see her, well before sunrise, leaving her place to get into a car that will take her to the Manhattan office where she serves as every beleaguered associate producers passive punching bag. Her colleagues barely acknowledge her as she prints their documents, orders their lunch, tidies up their spaces, replaces their supplies, responds to their emails, and puts out their administrative and personal fires with a supremely controlled phone manner. The two male assistants she works with have a good cop/bad cop routine that amounts to the substance of the cliché?that is, none at all; they push volatile, unwanted situations her way, and only help her when she needs to write compulsory apology emails to their shared overlord. What Jane does for that overlord, her boss?a man we never see but hear from and of?is often extreme: In one scene, we see her take his insulin syringes out of his personal trash can with her bare hands and place them into one of the plastic red biohazard bags she keeps in her desk. Garner masters the portrayal of Jane with physical subtlety as well as an undercurrent of emotion suppressed so fiercely it has its own subplot. Garners performance works so well both because of its expert control and its small yet resounding flights of fear and fury, which hit me in the gut with some personal resonance. One summer during college, I worked in a film production office as a full-time intern alongside overworked and underpaid young assistants; Ive also worked as a full-time assistant in the media industry. While neither industry tends to reasonably account for the intellectual or emotional labor of entry-level workers, my film industry experience was far more demanding. “ The internship was the only position Ive ever held where I directly experienced verbal abuse, and in which there was an overwhelming mandate to place the wellbeing of the producer-executives above your own. ” The internship was the only position Ive ever held where I directly experienced verbal abuse, and in which there was an overwhelming mandate to place the well-being of the producer-executives above your own. Still, I was only there for a summer, I told myself, and even felt lucky to be in entrusted with filling in for the assistants when they took time off. The Assistant masters the power dynamics that are central to the various abuses withstood in these kinds of you-should-feel-lucky-to-be-here workplaces: You are special yet disposable?in one moment, youre a genius on the path to professional stardom, and in the next, youre an ungrateful embarrassment. To cope (or make sense of your investments of time and energy) you hold onto instances of praise as proof that the mistreatment is merely a test, a necessary obstacle on the way to greatness. But I was not as ambitious as my peers and, after that summer, sought out experience in other areas, which made it difficult for me to secure a job after college (one of the assistants?and not one of the producers?I worked with during the internship went out of her way to help me with the post-grad job search, so much so that, years later, I still think about her kindness. Looking back, not securing a film producers assistant job was perhaps a sign, not least because the 20, 000-a-year Manhattan-based jobs I was interviewing for in 2015 are at the center of what we talk about when we talk about the corruption and toxicity of the film industry. Its a system where wrongs are not only committed by predatory or dismissive men in power, but also nearly everyone else with some leverage to actually do something about it, including women who strategize their way through the glass ceiling, pretending that once arrived they cant see back through to the other side. With both the economy of words in her script and tightness of her direction, Kitty Green refuses to turn away from the isolation and banality of the grunt work in the film industry, which makes for a transfixing and harrowing film that briefly crosses into comedic absurdity. Key to the story is that Janes boss is not just verbally abusive but also sexually predatory, though not toward her. When Jane tries to ring the alarm after (spoiler) a young and unqualified assistant is hired out of nowhere and put up in a fancy hotel, she is brutally and skillfully rebuffed by the head of human resources (Matthew Macfadyen) who implicitly threatens her job. Later, after receiving an ugly verbal thrashing from her boss over the phone about going to HR, he replies to her apology email saying (Im paraphrasing) “Im sorry. Youre good. I push you because I know you will be great. ”? Several supporting actors from the TV series Succession fill out the adjacent roles of repressed and complicit coworkers in The Assistant, including Macfadyen, again playing a deceptively affable corporate shill; Dagmara Dominczyk, again glued to her phone while shielded by an expensive bob haircut; and Juliana Canfield, again an assistant, but this time of the sort tasked with picking up laundry, packing luggage, and babysitting at severely competent levels (of course the most physically demanding domestic and interpersonal work is thrust upon a woman of color. The emotional and psychological abuse Jane suffers goes hand in hand with her bosss sexual predation, with the former paving the road for the latter. And positioned along that road are several men and women who know about it and know better, yet would prefer to overlook abuse in the service of their professional ambitions instead of fighting to have the dignity of their fellow workers respected. So far, the film industry?from the Hollywood studios to the New York production companies?has done all it can to avoid reckoning with the intrinsic nature of its problems, focusing instead on corporate and carceral feminisms that attend to individual instances of reported sexual abuse rather than taking steps to upend an entire system dependent on myriad exploitations. The Assistant begs the question: What will we do, the Janes among us.
The assistant quest id. The assistante. The assistant. The assistant kitty green. The assistant manager. The vampire's assistant trailer. The assistant film. The assistant bernard malamud. The assistant aqw. The assistant videos. The assistant 2019. The assistant de service social. The assistant streaming. The assistant andy dick. The assistance fund. In the opening minutes of The Assistant, Jane ( Ozark s Julia Garner) an entry-level employee at a well-known film production company, is on her hands and knees, cleaning her boss office in the predawn hours, before any other employees arrive. She gathers up used plates and cups for washing, wipes crumbs and white powder from a coffee table. She dons rubber gloves to spot-treat the sofa, the sickening suggestion of whats taken place there the night before hovering in the air. She lifts a stray earring from the carpet and tucks it away for safekeeping. The 800-lb. gorilla in the room is Harvey Weinstein, though a character like him never appears on screen. While Weinstein and men of his ilk have dominated much of the public conversation for the last two years, the story of The Assistant, which premiered at the Telluride Film Festival today, is not theirs. It belongs instead to Jane ? and to the nearly 100 women writer-director Kitty Green interviewed while developing the film, whose experiences she melded to craft an intimate and often deeply uncomfortable portrait of one day in the life of a young, female employee. A documentarian best known for Casting JonBenet, which made a splash at Sundance two years ago, Green had been working on a different project ? a film about sexual violence, power, and consent on college campuses ? in October 2017, when the Weinstein news broke. Immediately, she shifted her focus to the film industry. She reached out to people whod worked at the Weinstein Company and Miramax, the Weinstein brothers first operation, then gradually expanded her probe to other Hollywood production companies, agencies, and studios. A former architecture student, she eventually began asking friends who work in architecture and engineering about their workplace experiences, too. As she closed in on six months of near-daily interviews, she realized something unsettling: Regardless of the industry the women worked in, their experience level, their age, the stories were all eerily similar. “I was seeing the same patterns emerge no matter who I spoke to, ” says Green. “I went to the UK, Australia, L. A., New York. I would hear a story from 20 years ago, from someone who worked in the UK for a predatory boss, and Id hear the same story, with almost exactly the same details ? like, on a yacht, in a specific place ? from somebody who worked in New York a year ago, just for a different boss. It was absurd. I thought, Im hearing the same thing over and over again, I think Im ready to commit this to paper. ” The resulting script ? Greens first fully narrative feature ? was light on dialogue but rich with atmospheric detail, offering a nuanced and highly specific picture of the microaggressions Jane must endure on a minute-by-minute basis at work. Though she is an aspiring producer with a degree from a prestigious university, she is saddled with menial, often domestic tasks, from serving food to watching after her boss children, handling any calls from his irate wife, and, in one stomach-turning scene, unpacking his latest shipment of erectile dysfunction drugs. “That was something common to a lot of people, the blurring of the lines between personal and professional, ” Green says. “Like the idea that babysitting the kids is part of the job, which is insane ? youre in the film industry, why are you playing games with a child for half your day? But that is expected of you, because you are a woman. Theres this gendered division of labor I find really interesting. ” Even when other employees arrive to the office (a dim and unglamorous Tribeca building thats a dead ringer for the former Weinstein headquarters) conversation is mostly background noise, a pitter-patter of spot-on Hollywood jargon and references to industry hangouts, including a couple of hotels Weinstein was known to prefer for meetings with actresses. Our point of view is Janes and Janes alone as she silently weathers a steady drip of slights, particularly from two more senior, male assistants. In some cases, their condescension is obvious (chastising her for accidentally ordering turkey, instead of chicken, sandwiches) in others, it is disguised as charity, as when they both crowd over her chair, uninvited, to help her draft an apology email to her boss for some imagined infraction. They are simultaneously generous and intimidating, their mere physicality a kind of looming, unspoken threat. The film is a collection of small moments like this. There is no rape, no overtly outrageous incident. It is discrimination by a thousand paper cuts. “I was looking at toxic work environments, and the way that, if you let some bad behavior go, then they can push it a little further, ” Green says. “Its an entry point for misconduct, because if they can get away with X, can they get away with Y? ” The dynamic plays out more sharply with Janes boss, who alternately berates her over the phone and apologizes, doling out lame compliments, via email. Its textbook abuser behavior thats all too effective at getting ambitious young people, women in particular, to suffer for the promise of future success. “Theres a lot of carrot and stick, ” Green notes. “If the bosses are truly horrible, you just leave. But there are little things that you cling to, tiny reasons to get up out of bed and go back the next day. These [complimentary] emails, or a supportive colleague, or someone just noticing you at all. ” There is a sense throughout The Assistant that Jane, though shes just starting out in her chosen field, is being suffocated. She even, at one point, attempts to make a complaint with the companys head of human resources ( Succession s Matthew MacFayden) but she has such a difficult time describing what has upset her ? offenses that are by their very nature nebulous ? that she is swiftly discouraged, in devastating fashion, from filing any kind of report. It is yet another example of a system that should exist to protect women serving only to reinforce structural abuses. While it all sounds grim and maybe even hopeless, Greens aim with The Assistant is not to point the finger at any one person or group, but to spark a deeper conversation about issues surrounding workplace toxicity and gender discrimination. “When were looking at interrogating this system thats allowed women to be sidelined for so long, its not just men that are accountable, ” she says. “We all have to examine our role, women included. So much of the MeToo coverage was like, Oh, these few bad apples ? we get rid of Harvey Weinstein and everything will be fixed. But the problem is bigger than that. Its systemic, its cultural, and we need to all ask how we can make it better, how we can improve on it, how we can see change ? not just a few bad men. ”.

The assistant company. Director Kitty Greens urgent real-time thriller marks the first narrative depiction of life under Weinstein's menacing grip. Harvey Weinstein doesnt appear in “ The Assistant, ” and nobody mentions him by name, but make no mistake: Director Kitty Greens urgent real-time thriller marks the first narrative depiction of life under his menacing grip. “Ozark” breakout Julia Garner is a revelation as the fragile young woman tasked with juggling the minutiae of the executives life, arranging a never-ending stream of airplane trips, staving off angry callers, and picking up the trash left in his wake. Beyond a few unfocused glimpses of a hulking figure roaming his office in the background, the Weinstein of “The Assistant” is a phantom menace who barrels down on the young womans life, but this fascinating psychological investigation doesnt allow him to hijack a story that belongs to her. “The Assistant” doesnt document the specifics of Weinsteins abuses recounted by so many over the past two years; instead, it explores the harassment and control that kept his unwitting enablers under his grip. Greens first fiction feature following the innovative true-crime documentary “Casting JonBenet” feels like a natural extension of her earlier work. Built out of immaculate research into the working conditions under Weinstein and how they affected many of the young women on its payroll, the movie unfolds as a gradual accumulation of intricate details, mapping out the characters exhausting routine until it becomes her own private Twilight Zone. “The Assistant” adopts such a gradual pace that it sometimes works against the stunning performance at its center, but theres no doubting the hypnotic power of a movie that digs inside Weinsteins harrowing reign and observes the mechanics that allowed it to last so long. A quiet work with major ambitions, “The Assistant” is a significant cultural statement in cinematic form. As Jane, Garner delivers a masterclass of small, uncertain gestures. A Northwestern grad who harbors dreams of producing movies, shes already enmeshed in an endless work cycle as the movie begins: Hopping out of her Astoria home before the sun rises, polishing up the vacant office, speeding through emails, printing out price sheets, and so on; the rest of the company slowly comes to life around her. Green constructs the atmosphere with a masterful focus on fragments of business talk, the clacking of keyboards, and ringing phones that draw out the drab nature of Janes work: Shes at once at the center of the action and entirely removed from it. And that includes the activities of her invisible boss, who only seems to notice her when she screws up. It doesnt take long: After angering some moody client, Jane gets a call from her unseen overlord as fragments of his bitter tirade (“They told me you were smart”) are barely audible. The specifics matter less than the way the abuse plays out on Garners face as she sinks into her hands, and the formal procedure that follows is just a few steps shy of a dark joke: The pair of unnamed male assistants (Noah Robbins and Jon Orsini) who sit across from Jane and judge her every move assemble behind her to dictate an apology email, and Jane does as shes told. As much as “The Assistant” involves the process through which one man exerts control over a woman trapped by his direction, it also shows how the toxic workplace infects others in its grasp. As the physical toil of Janes work piles up ? cleaning dishes, taking out the garbage, dealing with paper cuts ? she begins to notice the evidence of Weinsteins worst crimes. The offhand discovery of an earring piques Janes interest, as does a passing comment from one of the men at the company that nobody should ever sit on the office couch. Green makes the brilliant gamble of letting audiences pick up the pieces. With time, it becomes clear that Jane sees no recourse but to contend with circumstances that have since become a matter of grotesque public record. For a while, “The Assistant” seems as though it could simply hover in Janes world for hours, as if presenting the #MeToo equivalent of Chantal Akermans “Jeanne Dielman. ” But then the movie injects a subtle plot twist, as Janes suddenly tasked with taking a young new assistant (Kristine Froseth) to her own hotel room. The wide-eyed Ohio transplants sudden A-list treatment confounds Jane, who seems as if shes in denial about her boss real agenda with the young woman, and instigates a visit to the company HR office that pitches the movie into a whole new level of discomfort. Played by “Succession” star Matthew Macfadyen, the executive tasked with belittling Jane for her complaint magnifies the way the company exerted control over their liabilities and how they got away with it. The backlash Jane experiences from her small attempt to take charge is devastating, and it ends with a sudden email from her boss that gives her just enough encouragement to keep her in line. “The Assistant” pads out so much of its 85-minute runtime with eerie textures that it tends to linger on the same note of despair, and it struggles to move the story into a new place by its closing act. The tension dissipates as “The Assistant” drifts toward its finale, and theres a lingering sense that it underserves Janes story by basking so much of the companys happenings in total mystery. Its hard not to imagine what Green, whose previous work has used reenactments and voiceover to immerse viewers in real events, might have accomplished if shed paired these scenes with real accounts from Weinsteins victims. On the other hand, “The Assistant” doesnt need to overstate the nature of Janes conundrum. Best appreciated as an experimental narrative about workplace oppression, its a fascinating illustration of how the worst abuses can remain hidden even from those closest to the lions den. Green has not set out to make the definitive retelling of the Weinstein scandal, the reporting on his years of sexual abuse and coverups, or the fallout that destroyed his company. (Brad Pitts Plan B already has that project in development. Instead, the movie hovers in silent moments when taking action simply doesnt seem feasible. The absence of payoff only adds to the haunting spell, and imbues the drama with purpose. Amid galvanizing stories about what it took to speak out, “The Assistant” is an essential reminder of why it took so long for the world to hear about it. Grade: B+ “The Assistant” premiered at the 2019 Telluride Film Festival. It is currently seeking distribution. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
The assistant de gestion de pme. YouTube. The assistant vampire. The assistant book. The assistant movie spoiler. The assistant to the regional manager. The assistant 2020. The assistant movie times. The assistant movie. The assistantes maternelles. The assistant amazon. The assistant youtube kids. The assistant plot. The assistant official trailer. The assistant imdb. 1 nomination. See more awards ?? Edit Storyline It's the turn of the century and jobs are hard to find. A young man assigns himself the job of a store clerk, without pay, only a place to sleep and eat, after he was manipulated by a hoodlum friend into robbing the man's store. Soon he falls in love with the pragmatic store owner's daughter, who hesitates in giving her heart, or body. Nonetheless, the young man perseveres, much to the chagrin of her strict Jewish mother, who doesn't want her daughter marrying a gentile. Written by BOB STEBBINS <> Plot Summary, Add Synopsis Details Release Date: 1 May 1998 (Canada) See more ?? Company Credits Technical Specs See full technical specs ?? Did You Know? Connections References Little Caesar ?(1931) See more ?.
The assistant malamud. The assistant film 2020. The assistant labour commissioner. The Assistant Genre Reality Comedy Directed by Kasey Barrett Jeff Fisher Presented by Andy Dick Country of origin United States Original language(s) English No. of seasons 1 No. of episodes 8 Production Running time 25 minutes Release Original network MTV Original release 12 July?? 30 August 2004 External links Website The Assistant is a reality television show that parodied other reality shows such as The Apprentice, The Bachelor, The Bachelorette, Survivor, American Idol, and Fear Factor. Its eight episodes originally aired on MTV. It featured comedian Andy Dick 's search for a new personal assistant. The beginning of the first episode parodied The Bachelor, with the twelve contestants arriving in limousines, and Dick waiting outside to greet them with his maid and butler. A "rose ceremony" immediately followed, and one contestant was eliminated. Dick assigned the Hollywood hopefuls to some absurd tasks such as pretending to be him in an interview with a Japanese television station, bringing him coffee by traversing on a beam over a swimming pool, breaking up with his girlfriend, and attempting to get him a star on the Hollywood Walk of Fame. Contestants were usually "clipped" in elimination ceremonies parodying those on other reality series. [1] Like some other programs, The Assistant also included double elimination episodes and brought back fired candidates. Driving home Dick's message that they were starting from the bottom, candidates slept in Dick's garage. He also woke them with a flashing, siren-generating alarm, was prone to tantrums, and griped that, This reality show is ruining my life. 2. citation needed] Andy Dick actually had a relationship with one of the contestants on the show. Andy and Sarah Beckworth dated for a while after the show's end. The end of the relationship led to a breach of contract lawsuit with MTV which prohibited relationships with the contestants. Though the show was satire, the twelve contestants were real and the winner, Melissa Ordway, was awarded several prizes including a job at MTV. [3] The runner-up was Mark, who had been fired, but was brought back in the seventh episode. The show was not renewed after its first season. Contestants eliminated and reality show parodied [ edit] in reverse order of elimination) Melissa Ordway (Winner) Mark Rogers The Apprentice theme, Eliminated Episode 4 (brought back Episode 7) Eliminated Episode 8 Tanika Kennedy Fear Factor theme, Eliminated Episode 7 Mykell Wilson American Idol theme, Eliminated Episode 6 Colin Blake Anna Enger Unaware, surprise lie detector test, Eliminated Episode 5 Stefani Fischer The Amazing Race theme, Eliminated Episode 5 Ebony Boykins Survivor theme, Eliminated Episode 3 Nikeda Stanback Who Wants to be a Millionaire theme, Eliminated Episode 1 (brought back Episode 3) Sarah Beckworth America's Next Top Model theme, Eliminated Episode 2 Jeff Jimenez Andrew Sturgis (Andrew Rodgman) The Bachelor theme, Eliminated Episode 1 References [ edit] Roberts, Anthony (6 November 2004. Reality check. Review. The Australian. p.?B36. ^ Janes, Thoden; Fasbach, Laura; Ervolino, Bill; Schwarz, Marc; Advocate, Stamford (26 July 2004. reality bites. The Mix. The Record. p.?F02. ^ Bentley, Rosalind (19 September 2004. Q&A / MELISSA ORDWAY: Reality TV gig bites, but she loves it. Gwinnett News. The Atlanta Journal-Constitution. p.?JJ5. 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