To a degree, it works if you look at The Mill for the horror-inducing, claustrophobic narrative it strives to be.
Confined to a single location and locked into the perspective of one singular character, director Sean King O’Grady constructs things from the standpoint of someone being at the ebb and flow of company goals, but also the larger constructs that make it so. The Mill is the latest entry in many dystopian excavations of what work is and how the grind intrudes into all facets of our lives – from how much personal time we get to essentials like housing. They say that one of the biggest signs to run when looking for a new job is when you hear the phrase,” We’re a family here.” Perhaps the employees of global conglomerate Mallard should have heeded that before signing on the dotted line.
