Une valse dans les allées

One might think working in a club warehouse stocking & stacking pallets of goods to feed the consumer market would be menial & trivial, but like all things there lies hidden complexity. To some it's a second chance; to other it's a dead end job (literally). Well acted; engaging. Notes: (a.) I liked the Delta Blues' Son House song's lyrics, "a true friend is hard to find."; "Yes, but bear this in mind." (b.) I wonder to what extent jobs be displaced by robotic cashiers, inventory takers, stackers & pullers? (c.) Sadly, for the environment, I didn't see any indication of recycling or repurposing.of anything.

This movie has a unique nature, it will move your mood to a different level ,it will ring a lot of bills and it will make you wonder a lot about life.

It starts with a beautiful "Johann Strauss" music, then we will be taken into a journey between the aisles of a supermarket, this journey starts with the process of hiring a new employee "Christian", then the events follow to know more about the routine of the employees and their habits during different occasions.

The performance of the actors is the best here, they look as normal people we see everyday, their reactions are normal or not cinematic so they give you the feeling that anyone of us can be in their places.

The background of each character is introduced in a simple way, and to a sufficient extent.

Most of the events happen in the supermarket, but there are some external scenes. However you may wish that all the events remain in the aisles as they have a unique magic that attracts you.

The movie has a message about life that is delivered in a very simple way, but not all of people may catch it in the first time.

The directing added a lot to the nature of the movie, there's a great attention to details and this is clear in the connection between the final scene and the scene in the 9th minute.

Finally, if you ever wondered about the life of people in IKEA or any supermarket, then this movie is recommended for you. You may feel it's elongated as two hours movie, but you may wish if it could stay more. It's not boring and rewatchable.

If you can't imagine how to make an impressive film out of the everyday life and work of a supermarket staff, you should watch this film. This is of course not inconsiderably due to the two - as always impressively acting - main actors Franz Rogowski and Sandra Hüller (plus a no less brilliant Peter Kurth), but ultimately the decisive factor is the warmth and sympathy with which the writer/director Thomas Stuber draws his characters under the most adverse circumstances (= the monotonous work in this juggernaut of a supermarket with its endless aisles and towering shelves) treating each other warmly and respectfully and occasionally celebrate the small unauthorized freedoms. The delicate bonds between Hüller and Rogowski are so adorable in all their clumsiness and speechlessness, nothing more is wished for them other than the main prize in the lottery and great luck. I don't give away too much, I think - everything will turn out differently, of course, but you will still be able to dream and it is and remains a wonderfully charming film.

Thanks to Franz Rogowski and Sandra Hueller, I trust in every minute of this movie. How hard is to get up. And what happens when you cannot get up. Zero effects. But leaves the deep memories.

In Thomas Stuber's austere drama about the lives of supermarket employees in Germany, Strauss' 'The Blue Danube' conveys the lyrical magic of forklifts skating amidst the vast rows of floor-to-ceiling shelves, paying homage to Stanley Kubrick's 2001: A Space Odyssey. Introvert Christian (Franz Rogowski) has a chequered past but finds work as a shelfstacker at a Costco-style supermarket. He's urged to hide his tattoos and wear his name tag to maintain the company's clean-cut image. Assigned to the beverages department, Christian finds a trusty mentor in no-nonsense veteran Bruno (Peter Kurth), who schools him on the politics of 'forklift conflicts' and who patiently trains him to drive pallet jacks in between smoke breaks on the sly.

Christian's first time operating a pallet jack is a wry exercise in slapstick. Possessing a reserved charm, Rogowski makes the meek Christian likeable with a largely physical performance of bashful turns of the cheek, wistful glances and approving nods. Christian's frequent encounters at the coffee machine with Marion (Sandra Huller) from the Sweets aisle sends tongues wagging, but their innocent flirtations barely crack the ice. Upon learning of Marion's martial unhappiness, Christian's wounded vulnerability compels him to self-medicate with alcohol to numb the pain.

Stuber would have done well to play up the romance angle to give his inert film more energy and direction, but that's not the goal here. 'In The Aisles' celebrates the human connections formed in the daily grind of work. Christian and Bruno bond during smoke breaks, looking out to the world beyond from behind a wire fence, with the older Bruno reminiscing of Germany before reunification when he used to drive trucks, recalling the landmarks that were markers that told him home was close. Stuber is careful not to turn it into a battle cry against the collossus of global capitalism, but the bleakness hangs over like a dark cloud nonetheless. 'In The Aisles' handles tonal shifts well, and by adding deadpan jokes to undercut the gritty, urban gloom, its shades of light and dark are sketched with convincing realism; however, more laughs to cut through the grey wouldn't have gone astray.