Set over the course of one day in a dysfunctional office setting, Another Day in America – as much of a generalisation as it may appear as a title – is an apt description for Emilio Mauro‘s commentative dark comedy, which blends situations both mundane and exaggerated across its 112 minutes, resulting in an oft-uncomfortable, but no less mostly compelling effort that speaks to the truths of office politics that exist within the modern day work setting.
Starting its day at 9am – blocked text on screen informs us as each hour counts down – before closing with a final vignette at 4pm (arguably the film’s most confronting), Mauro’s script has no singular focus on plot or character, instead letting its ensemble of players loose across a multitude of narrative strands, with the no-nonsense Human Resources manager, Tracy (Alexis Knapp), opening proceedings as she gears up to fire Manny (Christian Trotta) for a series of vile, offensive tweets he posted several years prior. He’s quite taken aback that something from his past – behaviour and views he says he doesn’t share anymore – could derail his current career, but with Tracy unable to budge on the decision, he unleashes a vitriol of abuse that evidently suggests that his “past” self is very much alive in the present. Safe to say, this secures his termination.
Tracy’s issues don’t end with Manny unfortunately, and with many of the office players all a bit hungover from the previous night’s social activities or just outright disenchanted with the morale, Another Day in America revels in a certain hostility that, whilst unpleasant to watch, may prove oddly cathartic to any office worker who has had their fill within the enclosing cubicle walls. Misogyny runs rampart, foul language is used as aggressively as it is casually, sexual exploits are openly discussed in graphic detail, and the odd lateness of one worker ultimately ricochets across all parties – however disconnected they may be – resulting in an almost Clerks-like mentality for Mauro’s film as the variety of characters reveal their own individual messes in a documentary-lite manner.
The language used and behaviour of those involved – such characters as the perennially vexed Greg (Ritchie Costner) and the sexually minded Joe (Joey Oglesby) two of the biggest culprits for the script’s most explicit dialogue – may not translate into a real world setting as organically (you’d have to believe that these are the type of men who would have been pulled up by HR on multiple occasions for their candour), but Mauro is certainly showcasing archetypes of men and women that exist in the current day corporate environment. Ultimately, these are people saying and doing the things many of us wish to, and whilst some of this means Another Day in America feels a little removed from reality, there’s always a sobering conversation or set-piece that takes place that reminds us how stark an environment the world can adhere to.
Whilst there are a slew of familiar faces peppered throughout the ensemble – character actor Paul Ben-Victor and Natasha Henstridge, arguably, the most recognisable – Another Day in America stays as uncomfortable as it does because so much of what unfolds is performed by actors untainted from more recognisable work. It’s also a film that doesn’t really pose solutions for the problems it features at its core surrounding addiction, mental health, autonomy and social media. Whilst it’s easy to criticise the film for not doing so, Mauro seems to want to offer a snapshot of unfiltered life and not preach to those who can see themselves in many of the characters and their flaws.
Though it’s far from being a perfectly crafted satire and commentary on the American work system, and its eventual ending is far from playing it subtle, there’s something admirable in Another Day in America taking delight in its own messiness.
THREE STARS (OUT OF FIVE)
Another Day in America is now available digitally across most major platforms in the United States.
