Nam-geun is having sex with the youngest female employee at work every lunch time and Kim is learning sex from a married superior. Lee is going around, poking everyone here and there. All of them get horny once work starts. One day, Hee-soo, the sexiest worker, comes back from China and she's become even sexier. The male workers start to beg her for sex...
Lidia is a responsible and dedicated maid for a hugely wealthy, elderly Tijuana matron who loves only her pet whippet. Rafael is a quiet and dignified janitor who buys a new pair of shoes to celebrate his imminent retirement from the large corporate facility where he's worked for 30 years. When Lidia's boss dies, leaving everything to her dog, and Rafael's plans get derailed, they both turn to criminal subterfuge to get what their harsh lot in life has denied them.
Gunner and Bucker are pals who work as riveters. Whenever Bucker gets the urge to marry, which is often, Gunner will hit on his girl to see if she is true or not. So far, Gunner has not failed. But one night, while Gunner is in jail, Bucker meets Mary, a tough dame with a line. He falls for her, and she falls for his dough. But Mary is already a gal pal of Gunner, and no two know about the third one. The trouble starts when the triangle is revealed too late.
Working men and women leave the Lumière factory, through the main gate. It is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist. The first version features a carriage drawn by one horse. In the second, the carriage is drawn by two horses or there is no carriage in the third.
An atmospheric portrait of four women who leave the factory where they work to go to the beach.
After his wife leaves him, Fred goes on a cross-country crime spree in this dark but dreamy French comedy.
Essayist documentary based on the film material: workers leaving the factory of the Lumière Brothers. Based on the first film recording - workers leaving the Lumière factory - Farocki provides an insight in the changes in both the phenomenon of work and film through pictures of workers leaving factories across the years. - IFFR
A large number of workers, mostly young women, leave by the front door of their work place at lunch time. The building has an impressive colonnaded facade, and is located at 181, Santa Catarine St., Porto - one of the city's main streets. A passengers' horse cart crosses from right to left of the screen, and a few seconds after an ox cart carrying merchandise crosses in the opposite direction. All the while, workers keep leaving the factory, giving a sense of a large work force.
Inside Qatar’s labor camps, African and Asian migrant workers building the facilities of the 2022 World Cup compete in a football tournament of their own.
A group of men and women have been brought together after World War II, when Italy regained its national and territorial unity. They make up a primitive community which seeks to erase not only the distress created by the war but also the hardships of life, and look to protect themselves from violence, misery and fear. Amid the ruins of this post-war period, these men and women build a new rapport between themselves, between sexes, between generations, between social and geographical origins, between political camps.
Adding insult to injury
Between 2009 and 2015, Wen Hai followed the lives of workers and worker activists in southern China, the world’s factory. His astonishing film gives nameless workers a face, shows their vital sense of justice and resistance to owners who are only interested in profits – and how they escape the role of victim.
Documentary short by Humphrey Jennings
115 years later, a(nother) remake of the Lumiere Brothers pseudo-actuality film La Sortie des usines Lumière. This time around our factory is a job site, a construction site peopled by thousands of Southeast Asian laborers, a neo-Fordist architectural production site that manufactures skyscrapers like so many cars.
"UNEMPLOYMENT DAY: MARCH 6th 1930." "Contingents of marchers arriving at Tower Hill." A long column of marchers carrying banners moves through great crowds (89); CS of a girl selling the 'Daily Worker' (99). "the Workers' International Relief food kitchen." Men and women eating sandwiches and drinking tea dispensed from the back of a lorry (190): a further shot of the assembled crowds (213). "A London docker speaks". A shot of his audience (223). "A women's contingent." A group of women hold up a banner which reads 'Thousands of children die of starvation in Britain - we demand bread (235); a speaker talks to the crowd (259). The demonstrators proceed to the Mansion House. The procession moves on (305).
Unusually for one of Mitchell and Kenyon's 'factory gate' films, the girls and young women here seem most fascinated by the camera, stopping and staring while their male counterparts hurry past with little more than a slight smile. The exception is a rather grubby, undernourished young lad, who looks old and wizened before his time, who dashes back and forth to make the most of his screen debut.
Due to his video and interview based investigations of a top-secret, marginalized class of book-scanning workers on the campus of Google headquarters, Andrew Norman Wilson was fired from his job there as a video editor. Workers Leaving the Googleplex is the result of these investigations.
Union Time: Fighting for Workers’ Rights follows the story of workers at the Smithfield Pork Processing plant in Tar Heel, North Carolina, who fought for safe, fair working conditions – and won. It goes beyond hype about unions (from both sides) to show how people standing together can break the cycle of poverty and injustice.
A comedy set in the offices of Heaven Inc. When God plans to destroy the Earth, two low-level angels must convince their boss to save humanity. They bet him they can pull off their most impossible miracle yet: help two humans fall in love.
Miracle Workers was the name of a reality television show on ABC. It premiered on March 6, 2006.