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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Sundance Review: Compliance

Craig Zobel, who was last at Sundance in 2007 with Great World of Sound, a sharply directed and acted film about a record producing company scam, is back at Sundance this year with a film about a different sort of scam, Compliance, an equally sharp examination of what happens when Sandra, a fast food restaurant manager, receives a phone call from a police officer informing her that one of her young employees, Becky, has been accused of stealing from a customer’s purse and must be detained.

It’s a stressful day for Sandra, one that started with the discovery of a freezer left open and over a thousand dollars of food lost, and the looming possibility of a “secret shopper” quality control visitor, and perhaps that strain contributes to all that unfolds over the next 80 or so minutes of utterly riveting screen time as Sandra complies with the increasingly bizarre requests made by the the caller. And what happens in the course of this story would be unbelievable – if it wasn’t all based on a true case of a McDonald’s manager and employee in Kentucky.

Zobel builds on solid, sympathetic performances by Dreama Walker as Becky and Ann Dowd as Sandra as he weaves this decidedly unsettling tale that’s really about how easily a person can be drawn into complicit obedience to a perceived authority figure, and in doing so commit acts that degrade another human being, even as their conscience and gut instinct should be screaming at them to stop. A friend commented over lunch after today’s screening that this is what the Nazis understood, the way that average people will blindly go along with authority, how they’ll harm others while making the excuse that they themselves were only following orders. It’s easy enough while watching this intensely uncomfortable film to judge these people and think that no one could possibly be so gullible; then we learn at the end that there were over 70 real cases, it makes you just shake your head in despair at the things we humans are capable of.

Compliance has generated a fair degree of controversy here at Sundance, but personally I found it more fascinating than deliberately antagonistic. The story is engrossing on its own merits, in part because you can’t believe what you’re seeing, but also because Zobel does a superb job of building dramatic tension as things escalate from bad to worse. Some terrific editing and cinematography choices effectively guide the tone and tension, as Zobel takes us back and forth between Becky’s plight in the office and the normal, bustling routine of customers coming and going, food bought and consumed, and Becky’s fellow employees going about the routine of their jobs, all the while mostly unaware of what’s happening to their friend and coworker. Zobel also uses a great many insert shots to break the tension at just the right moments, giving us a much-needed break from the dramatic tension and isolation of the office.

It would have been easy to go over the top as things progress in the story, but Zobel is restrained when he needs to be, creating just enough edginess to make the audience increasingly uncomfortable, without crossing the line into our own voyeurism of the unfolding events as exploitation. It’s a fine line, but he manages to walk it. Compliance is by no means an easy film to watch, but it is very, very good.

2 Responses to “Sundance Review: Compliance”

  1. Paul D/Stella says:

    Anyone who has a hard time believing how far things go, watch this: http://www.youtube.com/watch?v=CgCSps6KgdY.

  2. Jannie Grey says:

    I would say it takes heart and real conviction to sit through the entire movie as things keep on getting worse and worse. Really hard hitting movie. Most controversial of the year i think.

    Jannie

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch