Berlinale 2020: THE ASSISTANT

With the recent conviction of disgraced producer Harvey Weinstein, there might not be another film more topical and current than Kitty Green’s The Assistant. Although to be perfectly fair, in light of the #MeToo movement and deserved attention on the condemnation of workplace sexual abuse, this is a film that has been topical ever since it was announced. It’s a film that plays to society’s long history of blindsiding the injustice and horrors of sexual abuse in the workplace, and does so in a dramatically reserved fashion.

Rather than shine a light directly at the abusers and victims, The Assistant takes a rare look at those complicit in these daily acts of intrusions. Jane (Julia Garner) is an entry-level assistant at a Hollywood production firm, and the film follows her along a typical day at the office. Being relatively new to the job, she starts noticing some of the unusual practices of the firm’s head honcho, raising both concern and suspicion. As Jane begins to question the big and very apparent elephant in the room, she realizes the futility of her actions, which spirals into a thoughtful examination of the toxic culture that inhabits the lives of far too many people.

A tamer approach to a bombshell topic

Unlike last year’s Bombshell, which rightfully put a spotlight on this topic in a dramatically conscious (and media driven) manner, The Assistant removes all the bright lights and loud noises. Instead, it takes a rather mundane approach by capturing the daily routines of working in a busy office. It does this, not to understate the subject matter’s importance, but to illustrate just how normal and commonplace these types of atrocities can be. As the abusive practices are slowly revealed to both Jane and the audience, as shocking as these revelations may be, it’s simply another work day for everyone else in the office.

By taking such a tepid approach, Green distinctively illustrates the degree of normalcy that has been assigned to this type of workplace behaviour. The open secret is so transparent that those who helped abide the process can be seen going through the motions in a rote and mechanical fashion. This under-dramatization of workplace sexual abuse, paradoxically, makes it all the more dramatic and horrific.

Addressing the widespread complicity

The Assistant also treads on a relatively wide territory when it comes to identifying those who might be complicit in these acts. With the obvious culprits notwithstanding, Green makes it clear that people who turned a blind eye or aided in such behaviour indirectly aren’t necessarily given a free pass. In fact, I would argue that doubt is even inflicted into the film’s protagonist, who gets a taste of how consequential her pursuit of the truth actually is.

This generalization of guilt and complicity is a refreshing take on a subject that has clear indicators on what is right and wrong. In fact, the film would have stood perfectly still in its delivery had it taken a more traditional approach to identifying sides. But Green chooses to paint her narrative in a shade of grey, and instead, invites audiences to take a deep dive into their own personal ideologies. No one is safe from judgment, but that doesn’t necessarily mean everyone is guilty either.

The Assistant: Final thoughts

For such a quietly paced film, The Assistant certainly tackles a very serious topic through an intensely contemplative lens. Garner, who is best known for her impressive work on Ozark, clearly makes a strong leap onto the silver screen with her assured performance and serves as the film’s singular narrator. Along with Green’s astute direction, they’ve created a rare piece of cinema that is able to dramatize a distinctly horrific topic in the most unassuming way. This will likely be a film that people talk about for months to come, and that is perfectly okay.

The Assistant screened at Berlinale 2020. It will receive wide release in the UK on April 3, 2020.