7.3/10
637
2 user 25 critic

The Nothing Factory (2017)

A Fábrica de Nada (original title)
Not Rated | | Drama, Musical | 21 September 2017 (Portugal)
One night, a group of workers discover their factory is being dismantled by the same administration that runs it. Quickly, the labourers organize themselves in order to occupy the plant.

Director:

Pedro Pinho
18 wins & 27 nominations. See more awards »

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Cast

Cast overview, first billed only:
José Smith Vargas José Smith Vargas
Carla Galvão Carla Galvão
Njamy Sebastião Njamy Sebastião
Joaquim Bichana Martins Joaquim Bichana Martins
Danièle Incalcaterra Danièle Incalcaterra
Hermínio Amaro Hermínio Amaro
João Santos Lopes João Santos Lopes
Paulo Vitorino Paulo Vitorino
Rui Ruivo Rui Ruivo
António Cajado Santos António Cajado Santos
Zé Pedro Zé Pedro
Arlindo Miguel Arlindo Miguel
Boris Nunes Boris Nunes
Euclides Furtado Euclides Furtado
Fernando Lopes Fernando Lopes
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Storyline

One night, a group of workers discover their factory is being dismantled by the same administration that runs it. Quickly, the labourers organize themselves in order to occupy the plant.

Plot Summary | Add Synopsis

Genres:

Drama | Musical

Certificate:

Not Rated | See all certifications »
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Details

Country:

Portugal

Language:

Portuguese | French

Release Date:

21 September 2017 (Portugal) See more »

Also Known As:

La fábrica de nada See more »

Filming Locations:

Lisbon, Portugal

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Box Office

Cumulative Worldwide Gross:

$42,657
See more on IMDbPro »

Company Credits

Production Co:

Terratreme Filmes See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color
See full technical specs »
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Did You Know?

Soundtracks

A Meia Noite da Revolta
Written by Focolitus
Performed by Focolitus
Courtesy of C.A.G.A. Records
Under CC-BY-NC-SA 4.0 License
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User Reviews

 
Pinho's scattershot pieces simply do not cohere as a narrative feature
11 November 2017 | by lasttimeisawSee all my reviews

Portuguese filmmaker Pedro Pinho's THE NOTHING FACTORY takes home the FIPRESCI Prize in Cannes, with the jury's verdict as follows: "An evocative activist film that blows the boundaries between reality, fiction, theater and sociological discourse leading to an unsettling and provocative cinematic experience." but, it is an overstatement, because there is nothing unsettling and provocative in this meandering docu-drama, a hodgepodge of didactic, verbose theoretical discussions and workaday miserabilism perpetuating around a cohort of blue-collar workers who are saddled with a massive layoff.

Most courageously, the film offers its audience a fine-tooth combing of the downside of capitalism, and hammers home the inevitability of its failing which is behind the lift-manufacturing factory's dodgy maneuver, smuggling machines out in the night, so they can start anew in other places while ditching the current one with their labor surplus. But it suffers from being a typical talk-the- talk endeavor which to this reviewer's lights, is flogging a dead horse.

After negotiating with the shysters hired by the factory owner reaches a standstill, summarily, the workers are left with a half-empty factory and they decide to operate the business on their own despite that no one is equipped with the know-how of management. Anticlimactically, a seemingly propitious order from Argentina doesn't necessarily elicit the hardship-defying mettle which the story-line half-heartedly suggests, apart from an out-of-nowhere musical sequence, whose feigned elation comes a bit too late to dispel the dreadful tenor holding its stranglehold on this nearly 3-hour long realism-evoking overreach er.

Character-arc straggles unsystematic-ally, and what Pinho and his team actually excel is the atmospheric construct: a disconsolate Lisbon colored with invariably somber hue refracts Pinho's own personalistic rumination of the city and his compassion to his beleaguered subjects might not be immediately felt, because self-consciously he knows he is trying to tackle with something much bigger, but to little avail (it is not that a solution is a requisite, but Pinho's scattershot pieces simply do not cohere as a narrative feature). Just like the contrived materialization of a bevy of ostriches loping in the wilderness during the film's middle passage, he intends to speak for those ostracized, marginalized, underprivileged, but visionary illumination is in dire paucity.


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