THE GIG IS UP: A Very Human Tech Doc
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Shannon Walsh
Screened at: Critics’ link, NYC, 11/2/21
Opens: October 8, 2021
Bosses hire workers to make money from their labors. They may treat them like family while they’re associating with them in close quarters such as in an office, but if they could produce goods and services without human labor, you can be sure they would toss the employees out. One group of workers are treated even more obviously as mere moneymakers. Employers rarely if ever see them, so the human touch in that regard is out. These are gig workers, members of the huge platform economy, so-called independent contractors, which is merely a euphemism for “you’re on your own.” They are not appreciated as human beings by either owners or the people they serve.
Look at the meaning of “gig.” Originally it was a colloquial term referring to musicians. A single job playing for a wedding or Bar Mitzvah was a gig. Merriam-Webster says a gig is a job with a stated end-point, a temp. As the term is used here, a gig is a job that depends on consumers’ use of phone apps. You hail a ride with Uber or Lyft by a few clicks. You order food with Deliveroo. Some gig workers work on fine-tuning artificial intelligence of internet sites. They are metaphorically and often literally unseen by the rest of us. The worst thing about gig work is not that they do not feel respected by their customers, but that they are considered independent contractors, and not employees. That means no overtime pay, no health benefits, no sick leave, no paid vacations. It sucks.
At first director Shannon Walsh, whose “Illusions of Control” deals with people in crisis creating new landscapes, hones in on some happy gig workers, making us think that this is a documentary about the freedom of working outside of offices. You’re out in the street on your bike, digging the sunshine, nobody checking what you’re doing every minutes. What’s more it would not matter what kind of education is required, whether a worker is undocumented, whether you’ve been a felon. But as with pharmaceutical drugs, the side effects could be worse than what’s promised. How can you survive especially in a city like New York or Paris without the benefits to which most of us are accustomed? It’s a wonder that these gig workers, at least in the film, did not become homeless.
The guy you may remember most, fella in his 30s who takes care of his mother, gives the impression that his gold teeth are all natural. He’s massively tattooed, he speaks slowly, his mother spends what little money he can give her on cigarettes and lottery cards, in one case marveling that she won two bucks. A Yemeni American with perfect English shows us how to lead a strike in San Francisco, pushing for recognition as an employee and not an independent contractor.
Among the intellectual talking heads, Prayag Narula predicts that by 2025 the gig economy will become so huge, cutting down the income on the workers, that the Middle Ages would look like paradise. We hear from Mary L. Gray, author of “Ghost Work” and Nick Srnicek of the book “Platform Capitalism.” The latter is a term many of us never heard before. That and the insights given to us throughout the film makes it unique. Can you remember any other movie like it? You might call director Shannon Walsh the equivalent of Britain’s Ken Loach, though Loach’s focus is on regular, normal workers who have it just as bad as of worse than those dealing with platform capitalism.
Special attention is given to gig work in Lagos, Nigeria; Paris, France; and Shenzhen, China.
88 minutes. © 2021 by Harvey Karten, Member, New York Film Critics Online
Story – B+
Acting – B
Technical – B+
Overall – B