“Severance” brings the separation between personal life and professional life to its climax

Each of us has already asked ourselves the question. Are we the same person in our workplace and for the rest of our lives? Not at all, not at all, almost. If the answer varies in degree, it is always the same: no.

It is in this simple and at the same time essential observation in what he says about alienation that screenwriter Dan Erickson signs dismissal, his first work in the form of a soft science fiction series, the first season of which recently ended on Apple TV. Add Ben Stiller to the director, whose talent behind the camera would almost begin to surpass the genius of comics, and you’ll have one of the most unexpected and important series in recent years.

More than a concept: a speech

From its tone, of those who constitute a concept as naked as it is exciting, Dismissal arouses curiosity. Lumon Industries (a company whose ambition and coldness are reminiscent of Apple) uses a chip implanted in the brains of its employees to separate their non-professional memories from their professional memories.

The result, for these office workers, are two different personalities who, therefore, do not know each other. Neither the nature of the tasks performed during working hours for one, nor the life, tastes or marital status of the other.

A situation that, you can easily guess, will quickly degenerate, with employees starting to wonder who they are beyond the doors of the company. They also question the justification for the unbundling procedure (which all their external personalities have accepted for reasons unknown to them), given the nature of their main task of entering numbers into virtual containers.

Dismissal it returns us to our own balance between professional life and personal life.

So Dismissal it quickly becomes a story of a labor union to revolt better. The first hit of the series is there. Far from being satisfied with his concept, he uses it to explain something else, going further to universalize a story that, from the middle of this first season, acquires the appearance of a clear speech, far from lukewarm. usual of American productions. on such topics.

More than a speech: an emotion

This is the second hit of this little nine-episode gem. For the precision of his writing, the formidable characterization and interpretation of his characters (the cast speaks for itself, between the impeccable Adam Scott and Patricia Arquette, the immense John Turturro and Christopher Walken, and the Britt Lower, Zach Cherry or Tramell Tillman), but also dominating his narrative tempo, Dan Erickson’s series does more than explain and talk, which is already a lot: he plays.

Dismissal In fact, it brings us back to our own balance between professional and personal life and, through the quick bonding with many of its characters, angers us before it bothers us in its suspenseful finale (season 2 s’ is currently filming), which a perfect montage makes absolutely heartbreaking.

We discover here an emotionally involved and more optimistic Stiller than the scenario that compels him could induce.

Which brings us to a third success. Like the two seasons of mind hunter by David Fincher Dismissal also stands out as a technical monument. At this point, the comparison is anything but risky. In the precision of his montage, in the delicate relief of his photography, and in the composition inspired by each of his plans, Ben Stiller seems to assume here a certain affiliation with Master Fincher without stupidly copying him, unlike many of his mates.

Accompanied by the sublime music of Theodore Shapiro, who seems to be inspired by the plan of a Max Richter, Ben Stiller imposes himself on Dismissal a very personal realization, as musical, certainly, as that which could have been produced by a David Fincher, but certainly more melodic, more sensitive, more connected to his characters. If Fincher is a cynic, and he is, here we find an emotionally involved Stiller who is more optimistic than the scenario that compels him might induce.

More than an emotion: a work

This first season of Dismissal it is, therefore, a complete work, a miraculous encounter between a sum of talents at the pinnacle of their respective arts, and what happens in the series over the coming seasons. An infrequent series as it combines artistic inspiration with heartbreaking suspense, an emotional relationship with the fate of its characters, an accurate narrative and, as a result of this combination, a more powerful political impact than most of the profession’s professional woes.

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Something to remember, just to be carried away by its passage, what is the use of art when it bursts into our daily lives, the same as Dismissalin its scarcely science-fiction way, it draws and denounces in a single movement.

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