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Iceberg reveals its theatrical provenance in lengthy, well-written and -played dialogues during which Juan Carlos Gomez’s camera, mostly effectively, is forced to keep moving to maintain the visual interest. Neither does Iceberg tell us much that we don’t already know from, say, Death of a Salesman - and in a film which prides itself on its knowingness of the modern world, it’s surely very innocent to suggest, as the script does, that a little bad press will actually change anything. Though it does need constant retelling, the message is nonetheless one which has been floating around Western culture since the time of the Industrial Revolution. Inevitably she starts to question the business ethics (or lack of them) on which her own life is founded, ending up in a boardroom fighting for her corner opposite about 12 very angry men.īut what Sofia discovers is that the world of corporate business is a very nasty place which treats people like things, and sometimes makes them kill themselves. Verdu, the angularity of whose features is a smart visual echo of the hard angles of the working environment, charts with great plausibility Sofia’s progress from corporate darling to skeptic as she slowly uncovers the human stories behind the suicides. You wonder what poor Gabriela is actually doing there in the first place, and you wonder, too, why workers would get up to certain things when they know the surveillance cameras are trained on them. Along the way, Sofia encounters Jaime (Alex Garcia), who tells her that capitalism turns him on, and insecure, fragile Gabriela (Barbara Goenaga), the only other leading female character and together with Sofia the only one apparently capable of seeing human beings as exactly that, rather than as generators of profit.