Every Door. Every Floor. carries a depth that far exceeds what one might initially take away at face value. The premise of the film is about a struggling salesman (Vincent) trapped in what appears to be an unending dry streak - desperately attempting to turn things around and in the process incidentally redeeming himself from his own miserable existence. However, what we come to realize (and can each relate to in our own way) is our protagonist's struggle to overcome his job adversities is directly correlated with how he perceives himself as an individual.
Vincent's perpetual struggle with selling himself on his own value, the confidence and reassurance of his self-worth directly impacts his ability to sell his products (which in reality are just byproducts of actually selling oneself) to others - and vice versa. While one might assume Vincent's bigger problem is the struggle with his job, it would be more accurate to conclude Vincent's struggle with his job is a result of his inability to love himself and to fill the void inside that causes his internal conflicts. Vincent, hence, personifies the polar opposite of a scaled measurement of our internal happiness.
How many of us are selling ourselves in one way or another throughout our daily lives? Selling isn't just about the quintessential act of trading a good or service for an equitable gain. In fact, most "sales" (whether you're conscious to it or not) takes place with every single one of us every single day, selling an idea, a persona, an image, a belief, a part of ourselves for the world to acknowledge and many times selling these things right back to ourselves for our own acknowledgment, confidence and reassurance - and we do this on "every door. every floor." of our lives.
I congratulate Mr. Stash Capar, cast and crew for portraying this reality of life masterfully. Mr. Capar has captured the very essence of a critically vital function in human psychology and should be recognized for not only his outstanding creative and technical abilities in making a great film but also for tastefully conveying a truth about the human condition seldom observed in films today.
