We see two men kissing passionately in the background of a bar.
A man and woman kiss but nothing happens between them.
In a toilet Paul sees a drawing on the wall of a man his penis being bitten by a shark.
Sexual conversation including a recounting of a rape.
a woman’s breasts are seen as she enters a room with a man waiting.
A man slowly takes a blanket off of a mostly nude woman. We see her panties and nothing else. Her breasts are covered with her hand.
A man and a woman have sex from a distance. Through a window the woman is seen topless. The woman is then seen riding him.


Film review:Translated by www.rabudo-ru.com


The story of “after work” takes place in a white-collar Paul. At the beginning, the soundtrack in the office is a rational and elegant aria on the G string. However, Paul is absent-minded and his regular work can not ignite his enthusiasm for life. After work, he took the standard petty bourgeoisie way – Taking the Tropic of cancer to the cafe and reading it with a melancholy face. Most likely, he was secretly looking forward to a romantic encounter. If a woman took the bait, he would recite the lines he had probably prepared for a long time to show his strength.

In Paul’s fantasy, he will spend a ecstatic night with the lady Marcy who can talk about literature with himself. But he lost $20 in his taxi – Money: as a symbolic voucher for his place in the capitalist world, he went into an absurd world of bottom / marginal people as an “outsider”.

First, Marcy, a woman much more “complex” than Paul thought. She (and later the waitress in the restaurant) sent a distress signal to Paul (Paul’s dress was like a sign of rational and safe petty bourgeoisie). However, Paul only listened patiently to their misfortune on the surface, but in fact he was afraid of them, I want to go back to my safe and clean home as soon as possible. Paul’s cleanliness mania is best reflected in his attitude towards women’s bodies: when she massages Marcy’s roommate Qiqi, his praise is “you have a beautiful body”, and Qiqi’s answer is “yes, there are no strange scars”. When he sees the disgusting scars in Marcy’s room in the burn treatment manual, He just made up his mind to leave her (he turned the topic back to “I’m coming here to get the Paperweight”, which turned out to be just an excuse to make an appointment). Skin carries a strong moral meaning here. Maybe Paul can accept her experience (of course, in a negative way – “whatever it is, I can’t see it anyway, it may not be true”), but when he saw her unfortunate “externalization”, he gave the cleanliness addict a fatal blow.

The two women they met later had similar attitudes towards Paul, enthusiastically helped him and hoped that he would save himself from his painful life. However, after the hero’s call, indifference and rude response, Marcy chose to commit suicide, and the waitress and ice cream lady took advantage of their advantages in this territory to avenge Paul – slandering him as a thief and calling on people to catch him. This may also be the fantasy of white-collar and middle-class women at the bottom: their enthusiasm and temptation are always accompanied by excessive demands on them. They are “barbaric” and dangerous. On the one hand, they want to vent their depression during the day from them, on the other hand, they want to keep a distance from them so as not to fall into their world.

In this “after work” night, the rational, stable and orderly world that sheltered them during the day disappeared. He came to an “unreasonable” world with abuse, violence, theft, sexuality and murder. Paul missed the safe home more and more, and needed comfort in others more and more.

Paul finally met the last woman of the night in the Ballroom – a “strange” woman who always sat unnoticed in the corner of the ballroom. Physically and mentally tired, he didn’t want to escape this time. He just wanted to sit down quietly and chat with her. He was really (not hypocritical to Marcy) gentle to a woman for the first time this night. July made him into a statue to help him escape the chase, but it is absurd that he was taken away by thieves because of the “over protection” of July (the world at night is always excessive and the world during the day is always moderate). In this irrational world, even if you treat people sincerely, you may not get satisfactory returns.

Finally, at dawn, when the company was about to open, he was thrown at the door of the company, the statue was smashed, and he regained his freedom. The newspapers and words on the statue covered his body, and finally he “broke out of the cocoon”, which is the symbol of re “Symbolization”, that is, regaining the identity of a member of society. The social machine captured him again, ignoring his dirty body and his strange experience last night. The computer screen lit up “Hello, Paul”, and the background music was a rational and elegant aria on the G string. Paul seemed to become a part of the social machine as a matter of course.

Zizek said in the terrorist attacks in Paris that one night’s terror of Parisians may be the whole life of refugees. Isn’t that what Scorsese’s after work tells? Paul didn’t “die like a dog” like Kafka’s company employees, and the darkness he visited may be the same in his day.

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