Zero Fucks Given

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Vitor O The only major setback in this picture is the thinness of the character's arc. We learn from where Cassandra is leaving, but not much happens to her and, by consequence, nothing much is made by her. Otherwise, it's a beautiful study on grief and the desperate will to live, with a fantastic performance of Adèle Exarchopoulos in the main role. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 03/14/25 Full Review Cristina B Exhilerating and voyeristic. Good soundtrack. Rated 4/5 Stars •  Rated 4 out of 5 stars 09/14/24 Full Review Rich S Mubi lured me to a one-week trial with a better movie, but this one was a must-watch based on the name alone. Had I known anything about the movie, it would have been a no-go. And definitely a never-again. Rated 2/5 Stars •  Rated 2 out of 5 stars 09/08/23 Full Review Andrena A It was interesting. It deals with a theme which is very recurrent when you are in your late 20s and they were able to make me fell this sensation of being lost and uncomfortable, but at the same time knowing that you have your whole life ahead. In terms of cinematography, it didn't really blow my mind. Rated 3/5 Stars •  Rated 3 out of 5 stars 05/26/23 Full Review Kevin L A nice bit of work here by the writing/directing team of Emmanuel Marre and Julie Lecoustre. We see the life of 26-yr. old Cassandre, a young woman who enjoys the freedom and detachment of her life while also dedicated to her work as an airline attendant. Thing is, life is tough for all of us, decent people or rat bastards. Cassandre doesn't walk the line of perfection in her job, and so is penalized by the hypocritical airline attendant rules. This is where the title comes in, at least in part. She is given extra chances cuz she has good sales (of course), and no doubt also because of her looks and competence. I feel the title is indicative of Cassandre and so many other young people like her. You're now an adult, employed and free to find out who you are and be that person. Cassandre plays the tough, free-wheelin' 20-something, who enjoys the casual encounter and partying. Her employer only minds to the point it might cost them some penalty or the odd rider, but they can also suspend or release her from a contract cuz she is so easily replaceable with so many others training for the position; and they can pay them less than someone with Cassandre's experience. So the 'zero f##ks' that are given attitude is more of a facade for her, but it's more the reality of the airline industry in replacing you. Standout work by the gorgeous Adèle Exarchopoulos in the lead role of Cassandre. She shows off the maturity of a composed actor but also the youthfulness of someone a bit adrift in her life, caught between the point of showing herself worthy of being given a f##k about, of someone deserving of respect and appreciation, and a person of the age and stature who gets all that automatically. We also see so much of the indifference and resignation she feels about her job and its routine just in her expressions and body language. It's a most impressive performance. Not sure about the late scene looking for the car her mother had been driving. But I am sure about how the film was shot and the fine camera work by Olivier Boonjing. He does a fine job of showing perspective between characters and also capturing the cities/locations of the film, and certainly the absurd near-fantasy look of Dubai. 3.2 stars Rated 3/5 Stars •  Rated 3 out of 5 stars 05/24/23 Full Review Mauro L (Mauro Lanari) - I'm sure that if we don't do anything things will get worse. - Yeah, but I don't really believe in change... We're not the same age, so what we can sacrifice isn't the same. - Don't believe in change? Meaning? What about the future? - I don't even know if I'll be alive tomorrow. The film goes on like this for about 40 minutes, and is extraordinary, with the dialogues, editing, costumes, make-up, in the sharp and lashing description of the human condition. Then 26-year-old Cassandre sheds a tear thinking about the change of ownership of the mother's mobile phone to herself, and the feature-length debut by Emmanuel Marre and Julie Lecoustre brings us back to the usual double track of sociological explanation on the alienating "gig economy" and on that of the "character study" with the psychological explanation of an unelaborated mourning, as if death needed particular reasons to prevail over existence. Adèle Exarchopoulos removes make-up, stops being interested in the sexual vitalism of the title, agrees to confront her family and wears a new mask, this time more integrated and comformist. Rated 3/5 Stars •  Rated 3 out of 5 stars 03/02/24 Full Review Read all reviews

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