Underpaid workers in global cinema: modes of precariousness in Rome (2018) and Nomadland (2020)
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Abstract
This article reflects on the emergence of precariousness in global cinema and on what currently allows cinema to become political in order to, in this way, consider the subjects who, due to the current conditions of neoliberalism, are relegated to the edge of the abyss. Faced with the question of whether global cinema can make affective statements about precariousness, it is proposed to investigate, from the analysis of some scenes and the forms of production of the films Roma (2018, Alfonso Cuarón) and Nomandland (2020, Chloé Zhao), the ways to present and represent issues linked to poverty, violence and the proximity of death. The relationships that arise from the work carried out by women from specific temporal and geographical perspectives allow us to enter textual proposals that, from abundant material resources, can produce an affective, aesthetic and ethical discourse on the precarious.
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