With it’s Georgio Moroder like score and it’s Run Lola Run tone, FULL TIME will leave you breathless.

From its waking moments till its full time end credits, FULL TIME pulses with an extraordinary tension, a hum to the humdrum, a pulsation, a propellant into the rat race of reality.

Julie is a single mum of two kids, a son and daughter, juggling parenthood and her job as a chambermaid in a five star hotel. Rising at the crack of dawn to prepare the kids for school before embarking on her long commute to the city, she is reliant on an elderly neighbour for pre and after school care and a reliable rail system to get her to and from work.

An employer who mistakes a chambermaid for a chamber pot, a rail system made moribund from industrial strife, and an ex husband in arrears with his alimony conspire to push Julie to the end of her tether.

Seeking to improve her lot, she must juggle the day to day with a job interview that will alleviate the pecuniary and parental pressures she faces. On the day she must impress, transport, workplace and home make an almost insurmountable mess.

The remarkable Laure Calamy plays the calamitous Julie from exhaustion to exasperation, from ecstatic to despair in a brisk 88 minute full time frenzy. It’s a performance of tenacity and power, strength and fallibility.

Irene Dresel’s score is rampantly repetitive in its rhythm, a tonal tempo that serves as an audio template for the main character.

Writer director, Eric Gravel galvanises our view of this peril in perpetual motion from the start and releases his grip only in the final frames, a relinquishment that comes as a relief.