Julie - eine Frau gibt nicht auf

This is remarkable film that will feel utterly familiar to any parent with young children and quite unrelatable to anyone else. Perhaps even more familiar if you're a single parent with a dead-end job struggling to stay off welfare and keep your kids.

The backdrop is France, and specifically Paris, during a time of chaos as worker's strike. This rather echoes the current industrial action paralyzing the UK and forcing the working poor closer to the edge. If you can't work from home then this action is a dagger to the heart forcing you to run, run, run for dear life.

In "Full Time" that's Julie's world in a nutshell. To the backdrop of an insistent soundtrack that raises the tension to a high pitch she's constantly rushing from one crisis to another. Stress, fear and worry are etched into her features as she tries to avoid letting anyone down as the world conspires against her.

This is so utterly "not Hollywood" with no particular story arc, character development or artful dialog - instead it just "is" and we are voyeurs to a life slowly falling to pieces. Step by step Julie edges closer to the precipice. It's impossible to look away but deeply uncomfortable at the same time.

I guess this means that "Full Time" won't appeal to every audience but my oh my you should make the effort to catch it while you can. If you're looking for more than just pure escapism this is a film that captures a miniature of life in compelling detail.

Éric Gravel's "Full Time" is a well-crafted film that follows a single mother, Julie (Laure Calamy), as she tries to make ends meet in a society that seems stacked against her. The movie has a fast-paced feel reminiscent of "Run Lola Run," while also offering a story that viewers can relate to on a personal level. Julie's job as the head chambermaid of a hotel is not ideal, and she's determined to land a better job at a marketing firm. However, with a citywide transit strike and her dependence on public transportation, she faces challenges in reaching her interview on time.

The film's technical aspects, such as Mathilde Van de Moortel's editing and Irene Dresel's score, add to the tension and keep viewers on edge. Julie's determination to better herself is admirable, but the film does not shy away from showing her flaws. Although the movie lacks a strong statement about the strike and organized labor, it is an intelligent and engaging story about a familiar struggle. Gravel's film blends tension and humanism to create an impactful experience.

There are days when you must wonder what the hell, as you're caught in one almighty, intense swell, fighting currents that don't ebb, trapped by an all-consuming web, in a battered, beaten, broken, burnt out shell.

It's a top drawer performance from Laure Calamy as the divorced mother of two Julie Roy, desperately trying to make ends meet and juggle a multitude of balls, while making the long commute to and from Paris working as a chambermaid. An opportunity to recover a career that she sacrificed for children is not helped on a day when strikes hit the transport system and her world becomes even more gridlocked, while an unsympathetic employer is not amused by her time keeping (amongst other things). You're left wondering how many women find themselves in the same or similar position and struggle to keep their heads above water.

Laura Calamy runs for her life, in a sense, and for the live of her children. There is no monster or serial killer out to get her: the challenge of this divorced mother of two, who has dropped long ago out of her career to raise her offspring, and now has to eke out a living by working as a chambermaid, is to make ends meet. We are in Ken Loach territory here, but À plein temps couldn't be more different, and frankly it's heads and shoulder above most of Loach's works. For a start, it's shot like a thriller: it's fast paced, and dry. It doesn't hector or guilt-trip the spectator; it doesn't depict its protagonist like a saint either: Julie Roy is as flawed as most people are. She is smart, can even be crafty, but has no time for moral refinement: for her, it's sink or swim, and she is determined to not sink (her only moment of genuine doubt arrives in the last third of the movie, in the scene at the station. The camera lingers on her back in one of the rare long shots in the film, and yet somehow we can read her thoughts -- this is the work of an author who truly masters their craft).

What put Julie in this situation is ultimately left to the spectator to decide. Has she at least partially brought it onto her by buying into a 50s-style suburban life myth? Is it society who has lost all empathy? Is there hope for her? I won't spoil the ending, but suffice to say, it's as powerful and dry and hard-hitting as the rest of the movie.

À plein temps is giving me hope for French cinema. It's a great movie. Don't miss it.

What a movie. Well directed; well acted; it never stops; and keeps you on the edge of your seat.

Any working parent will get this film and any single working parent will relate to the decisions and life choices this incredibly hard working mum has to make each day and each minute.

If anyone says Hollywood does thrillers and dramas, come and watch a story without car chases, without explosions, just the drama and emotion of real life.