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This paper situates Éric Gravel’s 2021 feature film À plein temps at a hinge point between the “cinema of precarity” and something new. Building on Lauren Berlant’s (2022) conceptualisation of inconvenience, I argue that the film’s depiction of strike action as inconvenient is precisely what allows it to portray and comment on an emergent post-neoliberal structure of feeling in France and beyond.
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Charlotte Fraser (2024) studied this question.
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