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I think it's a very aesthetic representation of life in aisles as in the assembly line (not much different in the cubicles). Didn't feel the darkness was exaggerated. You feel for the characters and then you think of yourself too. And of life today. The store itself is masterfully shot... the tall roofs and small aisles... for those working there, that's the sky and the streets. An existential film!

Needs a bit of existential acceptance to watch such movies. And an eye for the aesthetic... or else one might find it too gloomy. The direction is top notch. And the actors are such a great fit, they look like they actually work there. Marion, just like for the hero, is a welcome sight whenever she is in the frame... and she is used just optimally to make you feel the otherwise dullness of the place and work broken only when she's around. The mentoring relationship is another aspect very well-covered. Just to show that there's always some brightness and some warmth in the darkest and the coldest of places.

Thanks to Franz Rogowski and Sandra Hueller, I trust in every minute of this movie. How hard is to get up. And what happens when you cannot get up. Zero effects. But leaves the deep memories.

One might think working in a club warehouse stocking & stacking pallets of goods to feed the consumer market would be menial & trivial, but like all things there lies hidden complexity. To some it's a second chance; to other it's a dead end job (literally). Well acted; engaging. Notes: (a.) I liked the Delta Blues' Son House song's lyrics, "a true friend is hard to find."; "Yes, but bear this in mind." (b.) I wonder to what extent jobs be displaced by robotic cashiers, inventory takers, stackers & pullers? (c.) Sadly, for the environment, I didn't see any indication of recycling or repurposing.of anything.

The story is built up well. You are put into context for a while before things get going. Some may consider this "slow", but I liked it. Nice storytelling.

I really liked the photography of the film, it was great art!

Very good actors.

In Thomas Stuber's austere drama about the lives of supermarket employees in Germany, Strauss' 'The Blue Danube' conveys the lyrical magic of forklifts skating amidst the vast rows of floor-to-ceiling shelves, paying homage to Stanley Kubrick's 2001: A Space Odyssey. Introvert Christian (Franz Rogowski) has a chequered past but finds work as a shelfstacker at a Costco-style supermarket. He's urged to hide his tattoos and wear his name tag to maintain the company's clean-cut image. Assigned to the beverages department, Christian finds a trusty mentor in no-nonsense veteran Bruno (Peter Kurth), who schools him on the politics of 'forklift conflicts' and who patiently trains him to drive pallet jacks in between smoke breaks on the sly.

Christian's first time operating a pallet jack is a wry exercise in slapstick. Possessing a reserved charm, Rogowski makes the meek Christian likeable with a largely physical performance of bashful turns of the cheek, wistful glances and approving nods. Christian's frequent encounters at the coffee machine with Marion (Sandra Huller) from the Sweets aisle sends tongues wagging, but their innocent flirtations barely crack the ice. Upon learning of Marion's martial unhappiness, Christian's wounded vulnerability compels him to self-medicate with alcohol to numb the pain.

Stuber would have done well to play up the romance angle to give his inert film more energy and direction, but that's not the goal here. 'In The Aisles' celebrates the human connections formed in the daily grind of work. Christian and Bruno bond during smoke breaks, looking out to the world beyond from behind a wire fence, with the older Bruno reminiscing of Germany before reunification when he used to drive trucks, recalling the landmarks that were markers that told him home was close. Stuber is careful not to turn it into a battle cry against the collossus of global capitalism, but the bleakness hangs over like a dark cloud nonetheless. 'In The Aisles' handles tonal shifts well, and by adding deadpan jokes to undercut the gritty, urban gloom, its shades of light and dark are sketched with convincing realism; however, more laughs to cut through the grey wouldn't have gone astray.