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On behalf of a multinational company, a production assistant drives around the Romanian city of Bucharest, interviewing various citizens who have been injured due to work accidents to cast one of them in a “safety at work” video.
On behalf of a multinational company, a production assistant drives around the Romanian city of Bucharest, interviewing various citizens who have been injured due to work accidents to cast one of them in a “safety at work” video.
The film explicitly promotes a progressive ideology through its direct critique of nationalism, neoliberal capitalism, and historical denialism, advocating for historical truth-telling and social justice. Its central thesis aligns with a clearly left-wing perspective.
The movie showcases visible diversity through its focus on working-class Romanians, individuals with disabilities, and victims of workplace accidents, without explicitly engaging in traditional racial or gender recasting. Its narrative strongly critiques corporate exploitation, economic inequity, and power dynamics, making these themes central to its commentary on societal neglect and systemic issues.
The film does not feature any identifiable LGBTQ+ characters or themes. Its social commentary is directed at other societal issues like gender, class, and capitalism, leaving LGBTQ+ experiences outside its scope of depiction and critique.
Publicly available analyses and reviews for 'Do Not Expect Too Much from the End of the World' do not describe any explicit transsexual characters or themes. Therefore, based on current information, the film does not appear to feature such portrayals.
The movie does not contain any action or adventure elements.
The film's characters, including the protagonist Angela and supporting roles, maintain their established or historical genders. Angela's hyper-masculine alter ego, Bobiţă, is an in-narrative performance, not a gender swap of a pre-existing character. No instances of gender-swapping from source material or historical record are present.
The film's major characters, Angela and Gyuri, are portrayed by actors matching their established Romanian and Hungarian ethnicities from the 1981 source film. New characters and the overall background casting align with the historical demographics of Bucharest, with no instances of a character's established race being changed.
Combines user and critic ratings from four sources