Hunt Stevenson lavora per un'industria automobilistica che è appena stata acquistata da un gruppo giapponese. Improvvisamente, il posto di Hunt si trova in bilico: l'uomo dovrà scegliere tra l'abbandono del suo lavoro e la sottomissione a un'etica lavorativa apparentemente disumana.
Tre operai due bianchi e un nero di una fabbrica di automobili di Detroit scoprono che quel che c'è di storto nel loro lavoro non è solo colpa dei padroni ma anche di sindacalisti corrotti. E prendono provvedimenti: rapinano la cassa dell'organizzazione, trovando le prove della corruzione mafiosa.
Jean-Luc Godard brings his firebrand political cinema to the UK, exploring the revolutionary signals in late '60s British society. Constructed as a montage of various disconnected political acts (in line with Godard's then appropriation of Soviet director Dziga Vertov's agitprop techniques), it combines a diverse range of footage, from students discussing The Beatles to the production line at the MG factory in Oxfordshire, burnished with onscreen political sloganeering.
Cinque militanti (tre studenti e due operai), ripresi alla fine del luglio 1968 in un terreno erboso non lontano dalla fabbrica Renault di Flins-sur-Seine, commentano quanto appena accaduto. Si alternano immagini in bianco e nero degli eventi del Maggio, ormai lontani e perduti.
David Gelb (Jiro Dreams of Sushi) tackles another venerable, beloved, and long-standing institution: the Mustang, crown jewel of the Ford fleet. Only this institution is in turmoil. As the fiftieth anniversary of the Mustang approaches and the car industry struggles through the deepest trough of the financial crisis, Ford launches a redesign. Now the jobs of workers at Ford’s Flat Rock Assembly Plant, the expectations of the thousands of Mustang devotees, and the livelihood of the city of Detroit are all placed squarely on the shoulders of Dave Pericak. As chief program engineer, he will guide the 2015 Mustang from assembly floor to showroom—if only he can get that vibration out of the steering wheel.
Intended as a publicity film for Chrysler, Rhythm uses rapid editing to speed up the assembly of a car, synchronizing it to African drum music. The sponsor was horrified by the music and suspicious of the way a worker was shown winking at the camera; although Rhythm won first prize at a New York advertising festival, it was disqualified because Chrysler had never given it a television screening. P. Adams Sitney wrote, “Although his reputation has been sustained by the invention of direct painting on film, Lye deserves equal credit as one of the great masters of montage.” And in Film Culture, Jonas Mekas said to Peter Kubelka, “Have you seen Len Lye’s 50-second automobile commercial? Nothing happens there…except that it’s filled with some kind of secret action of cinema.” - Harvard Film Archive
