Asphalte (Macadam Stories) begins as an orthodox comedy: opening in the lounge of a decaying apartment block, the residents have squeezed in to vote on replacing the dysfunctional lift out of their own pockets, since the disinterested landlord would rather leave it (and them) to rot.
Everyone agrees… except one man, who insists that, living on the second story of the building, he sees no reason to contribute. With the instincts of an ACT voter he declares, “You can’t make me”. The others huddle in a bedroom to discuss the matter and come to an agreement: they will pay the increased amount, but the dissenter may never use the elevator again, terms to which he agrees (so perhaps not an ACT voter after all).
Shortly thereafter, he injures himself in an amusing fashion and is confined to a wheelchair. Then an astronaut lands on the roof.
Note I say it begins as an orthodox comedy; from there, the stories (for there are three tales in this apartment block) move towards the poignant, almost unbearably so in one case, with more optimisitic possibilities for the other two. It is a fine film, well-crafted, with the more extraordinary parts, such as the astronaut, crafted with a kind of 70s surrealism about them (and I mean that in the best possible way).
Most importantly, for a film that is fundamentally about people, a film of character studies, it is perfectly acted. Take the opening scene, for example. When the inhabitants (who barely fit in the apartment lounge) start to decamp to the bedroom in order to work out their course of action, Sternkowitz offers to go in there himself; the spokesman explains that is fine - they will go to the bedroom. Nothing more is said in the exchange, but the actors convey, perfectly naturalistically, a whole other layer. Sternkowitz is embarrassed at the idea is neighbours have to huddle in the bedroom; he does not want to inconvenience them (in this!). The simple, polite words dismissing the offer are accompanied by a body language that screams another message: you are inconveniencing us all so profoundly, what does this extra indignity matter?
This continues throughout the film, and it is what makes the most eye-catching of the stories, that of the lost astronaut and the grandmother who shelters him, work so perfectly. I highly recommend this one.