[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"title-movie-796159-fr-FR":3},{"detail":4,"match":309,"insight":310,"providers":311,"providerLink":46,"trailer":312},{"id":5,"adult":6,"title":7,"video":6,"budget":8,"genres":9,"status":13,"videos":14,"credits":26,"imdb_id":104,"revenue":8,"runtime":105,"similar":106,"tagline":111,"homepage":111,"overview":111,"softcore":6,"popularity":289,"vote_count":8,"poster_path":290,"release_date":291,"vote_average":8,"backdrop_path":46,"origin_country":292,"original_title":7,"watch\u002Fproviders":294,"spoken_languages":296,"original_language":298,"production_companies":300,"production_countries":306,"belongs_to_collection":46},796159,false,"Ne spavaju svi noću",0,[10],{"id":11,"name":12},99,"Documentaire","Released",{"results":15},[16],{"id":17,"key":18,"name":19,"site":20,"size":21,"type":22,"official":6,"iso_639_1":23,"iso_3166_1":24,"published_at":25},"60262e6ad2c0c1003c9e550d","R8FX5ZG4FRY","Hrvatska prije 70 godina: 1951., 28. siječnja 2021.","YouTube",480,"Clip","en","US","2021-01-28T09:40:03.000Z",{"cast":27,"crew":38},[28],{"id":29,"name":30,"adult":6,"order":8,"gender":31,"cast_id":32,"character":33,"credit_id":34,"popularity":35,"profile_path":36,"original_name":30,"known_for_department":37},1346561,"Branko Belan",2,1,"narrator (uncredited)","60262cb2d05a03003db62d5f",0.1325,"\u002Faxs56nfdbOMDgv9BvZB8N2GF79s.jpg","Writing",[39,48,55,61,67,73,79,87,90,95,98],{"id":40,"job":41,"name":42,"adult":6,"gender":8,"credit_id":43,"department":44,"popularity":45,"profile_path":46,"original_name":42,"known_for_department":47},1676522,"Sound Mixer","Lidija Jojić","60262dc8d05a03003bb65dfc","Sound",0.105,null,"Editing",{"id":49,"job":50,"name":51,"adult":6,"gender":8,"credit_id":52,"department":37,"popularity":53,"profile_path":46,"original_name":51,"known_for_department":54},1086834,"Idea","Oktavijan Miletić","60262cdbdd2589003fc0224c",0.2045,"Directing",{"id":56,"job":57,"name":58,"adult":6,"gender":31,"credit_id":59,"department":54,"popularity":60,"profile_path":46,"original_name":58,"known_for_department":54},1305876,"Assistant Director","Ante Babaja","60262d069d2b6300406931e5",0.1538,{"id":62,"job":63,"name":64,"adult":6,"gender":8,"credit_id":65,"department":66,"popularity":8,"profile_path":46,"original_name":64,"known_for_department":66},2974572,"Unit Production Manager","Dušan Fabić","60262df49d2b63003e6a603d","Production",{"id":68,"job":69,"name":70,"adult":6,"gender":32,"credit_id":71,"department":47,"popularity":72,"profile_path":46,"original_name":70,"known_for_department":47},1308711,"Editor","Blaženka Jenčik","60262da0af58cb003ea61555",0.0546,{"id":74,"job":75,"name":76,"adult":6,"gender":8,"credit_id":77,"department":78,"popularity":8,"profile_path":46,"original_name":76,"known_for_department":78},2974569,"Cinematography","Jure Ruljančić","60262cf2ef9d7200405a744b","Crew",{"id":80,"job":81,"name":82,"adult":6,"gender":8,"credit_id":83,"department":84,"popularity":85,"profile_path":46,"original_name":82,"known_for_department":86},2008317,"Gaffer","Dragutin Novak","60262de26a3448004014ec63","Lighting",0.0362,"Camera",{"id":29,"job":88,"name":30,"adult":6,"gender":31,"credit_id":89,"department":54,"popularity":35,"profile_path":36,"original_name":30,"known_for_department":37},"Director","60262cc1ef9d72003e5b07d5",{"id":91,"job":44,"name":92,"adult":6,"gender":8,"credit_id":93,"department":44,"popularity":94,"profile_path":46,"original_name":92,"known_for_department":44},2974570,"Leander Kukec","60262db0bc2cb3003da7fbd2",0.0143,{"id":29,"job":96,"name":30,"adult":6,"gender":31,"credit_id":97,"department":37,"popularity":35,"profile_path":36,"original_name":30,"known_for_department":37},"Writer","60262cd38b959e003c2279af",{"id":99,"job":100,"name":101,"adult":6,"gender":31,"credit_id":102,"department":86,"popularity":103,"profile_path":46,"original_name":101,"known_for_department":54},1050200,"Assistant Camera","Miloš 'Miša' Radivojević","60262d9195c0af004155e7fc",0.1118,"tt4216910",14,{"page":32,"results":107,"total_pages":287,"total_results":288},[108,118,128,134,143,153,161,171,180,192,200,208,217,226,234,240,251,259,270,278],{"id":109,"adult":6,"title":110,"video":6,"overview":111,"softcore":6,"genre_ids":112,"popularity":113,"vote_count":32,"poster_path":114,"release_date":115,"vote_average":31,"backdrop_path":116,"original_title":110,"original_language":117},989160,"Mármol y Cemento","",[11],0.1887,"\u002FiJGE2zKae3ljIR8NvMrAlKncMa8.jpg","2022-06-03","\u002F3IhSA3kWbMsDggsjmc7rAE98eX8.jpg","es",{"id":119,"adult":6,"title":120,"video":6,"overview":111,"softcore":6,"genre_ids":121,"popularity":122,"vote_count":123,"poster_path":124,"release_date":125,"vote_average":126,"backdrop_path":46,"original_title":120,"original_language":127},265316,"原油",[11],0.4428,6,"\u002FlRm7AOH0lNAwKnuvlB7iTeFDqwj.jpg","2008-01-17",7.2,"zh",{"id":129,"adult":6,"title":130,"video":6,"overview":111,"softcore":6,"genre_ids":131,"popularity":132,"vote_count":32,"poster_path":46,"release_date":133,"vote_average":32,"backdrop_path":46,"original_title":130,"original_language":23},435507,"Carny",[11],0.1041,"2008-06-02",{"id":135,"adult":6,"title":136,"video":6,"overview":111,"softcore":6,"genre_ids":137,"popularity":138,"vote_count":139,"poster_path":140,"release_date":141,"vote_average":142,"backdrop_path":46,"original_title":136,"original_language":23},16046,"The Take",[11],0.3575,22,"\u002F5QiQFidOptA8MaScRu70n2nR6BZ.jpg","2004-09-03",7.841,{"id":144,"adult":6,"title":145,"video":6,"overview":111,"softcore":6,"genre_ids":146,"popularity":149,"vote_count":32,"poster_path":150,"release_date":151,"vote_average":152,"backdrop_path":46,"original_title":145,"original_language":23},843217,"Escape 360",[147,11,148],12,10402,0.2486,"\u002FhHfqRapwGF8ab6oJ2CUJuDHetTy.jpg","2021-06-20",10,{"id":154,"adult":6,"title":155,"video":6,"overview":111,"softcore":6,"genre_ids":156,"popularity":157,"vote_count":8,"poster_path":158,"release_date":159,"vote_average":8,"backdrop_path":46,"original_title":155,"original_language":160},826781,"Sodium Nights",[11],0.1886,"\u002FxD0KZuecq5inhUISbqWuWSAwdGi.jpg","2018-09-21","el",{"id":162,"adult":6,"title":163,"video":6,"overview":164,"softcore":6,"genre_ids":165,"popularity":166,"vote_count":8,"poster_path":167,"release_date":168,"vote_average":8,"backdrop_path":169,"original_title":163,"original_language":170},1392938,"Paris Black Night","PARIS est le théâtre de ce voy­age musi­cal, même si par­fois on s’en évade pour des ban­lieues anonymes. Mais un Paris secret, couleur d’outremer, couleur d’ailleurs, ignoré des guides offi­ciels et des noctam­bules rou­tiniers, petits îlots d’Afrique, des Caraïbes, des Amériques ou des Antilles, fait de mille lieux éclatés, éphémères et vibrants que ceux qui les fréquentent rehaussent de l’exotisme sans pacotilles de leurs loin­taines patries. BLACK est la couleur dom­i­nante de nos acteurs, même si ce noir est moins la couleur de leur peau qu’un état d’âme, un art de vivre, un signe de recon­nais­sance, un « feel­ing », une manière de s’habiller, de rire, de manger, de danser, de faire de la musique ou de l’écouter. NIGHT est le moment privilégié de notre quête, de nos vagabondages dans un Paris « black » délivré des gri­sailles et des pesan­teurs du quotidien.",[148,11],0.2147,"\u002F15U2jul91lPWnHIDgIavT9dzImx.jpg","1990-01-01","\u002Fd8NBPDG7Gl3OGXhwUaBtBvzCLP6.jpg","fr",{"id":172,"adult":6,"title":173,"video":6,"overview":111,"softcore":6,"genre_ids":174,"popularity":176,"vote_count":8,"poster_path":177,"release_date":178,"vote_average":8,"backdrop_path":179,"original_title":173,"original_language":23},1031770,"The Decimation of Sanity",[11,175],35,0.6986,"\u002FqLNiYtjj1IceEK6C9JydhLuLeIs.jpg","2021-10-25","\u002FaK2fjVOer1CRmEPHJEhIk5OKuGw.jpg",{"id":181,"adult":6,"title":182,"video":6,"overview":183,"softcore":6,"genre_ids":184,"popularity":185,"vote_count":186,"poster_path":187,"release_date":188,"vote_average":189,"backdrop_path":46,"original_title":190,"original_language":191},125,"La Gare","Sous l'œil troublant d'une caméra de surveillance, la vie de la gare centale de Varsovie.",[11],0.4394,34,"\u002Fc4xG9QoCx2zXc8iP3jQVLYDHiMi.jpg","1980-01-01",4.706,"Dworzec","pl",{"id":193,"adult":6,"title":194,"video":6,"overview":111,"softcore":6,"genre_ids":195,"popularity":196,"vote_count":8,"poster_path":46,"release_date":197,"vote_average":8,"backdrop_path":198,"original_title":194,"original_language":199},1363288,"Beyond Ratings",[11,147],0.1642,"2024-02-29","\u002FkzWZ0Pu2zuNkwVGGNm6GO2Z7hNM.jpg","hi",{"id":201,"adult":6,"title":202,"video":6,"overview":111,"softcore":6,"genre_ids":203,"popularity":204,"vote_count":8,"poster_path":205,"release_date":206,"vote_average":8,"backdrop_path":207,"original_title":202,"original_language":23},811438,"Two Monkeys",[11],0.114,"\u002FzQxctDJMWHmxecrhEvqV2kVlxqH.jpg","2019-06-01","\u002FxFI8OVrcoKdhlCKpXZfpzzrFixA.jpg",{"id":209,"adult":6,"title":210,"video":6,"overview":111,"softcore":6,"genre_ids":211,"popularity":212,"vote_count":213,"poster_path":214,"release_date":215,"vote_average":216,"backdrop_path":46,"original_title":210,"original_language":127},282820,"希望之旅",[11],0.212,4,"\u002Fc2Ll9jrn84w2pOsLHQ5xxLKgO73.jpg","2002-12-09",6.25,{"id":218,"adult":6,"title":219,"video":6,"overview":111,"softcore":6,"genre_ids":220,"popularity":221,"vote_count":8,"poster_path":222,"release_date":223,"vote_average":8,"backdrop_path":224,"original_title":219,"original_language":225},637234,"언더그라운드",[11],0.1613,"\u002FwvGzIry74neAudRiNeb19sRpZfG.jpg","2021-08-19","\u002F9cNUDfuGHBRFwSjyl6Wq5Rir7DF.jpg","ko",{"id":227,"adult":6,"title":228,"video":6,"overview":229,"softcore":6,"genre_ids":230,"popularity":231,"vote_count":32,"poster_path":46,"release_date":232,"vote_average":233,"backdrop_path":46,"original_title":228,"original_language":170},452763,"Nous, ouvriers : « Nos rêves ont façonné la société » (1963-1983)","Au beau milieu des Trente Glorieuses, la France construit l’Europe en réformant son industrie. Les puits de mines sont progressivement abandonnés. La décentralisation industrielle, lancée dans les années soixante, est une aubaine pour certaines régions de l’Ouest et du Sud de l’hexagone, mais marque le début du déclin des bassins industriels traditionnels. Au coeur de la Vème République gaulliste, les ouvriers doivent faire face à une nouvelle révolution industrielle. L’automatisation redessine sa place. Ces années-là parlent de progrès, de confort et de plein emploi. Mais les ouvriers de cette génération s’interrogent : ne sont-ils que des machines à produire ?",[11],0.2064,"2016-03-30",8,{"id":235,"adult":6,"title":236,"video":6,"overview":237,"softcore":6,"genre_ids":238,"popularity":239,"vote_count":32,"poster_path":46,"release_date":232,"vote_average":233,"backdrop_path":46,"original_title":236,"original_language":170},452764,"Nous, ouvriers : «Nos cœurs battent encore » (1983 à nos jours)","Ils y ont crû : un président de gauche devait forcément les protéger. La désillusion est terrible. Dès 1983, la fermeture des Hauts-Fourneaux, les restructurations dans l’automobile, les délocalisations, l’intérim, le chômage,  la précarisation de la vie assomme les ouvriers. Celui qui a un emploi est un chanceux. Pour le conserver, il faut faire profil bas et endurer un rythme toujours plus soutenu. Les ouvriers qui, un temps, avaient espéré accéder aux classes moyennes, se retrouvent une nouvelle fois relégués en bas de l’échelle. La fierté d’appartenance à une classe laborieuse a disparu avec cet espoir déçu. Désormais, on ne se dit plus « ouvrier ». On préfère le nom d’ «opérateur» ou de «technicien». Sept millions de travailleurs sont ainsi «ouvriers » sans vraiment le savoir eux-mêmes.",[11],0.7044,{"id":241,"adult":6,"title":242,"video":6,"overview":243,"softcore":6,"genre_ids":244,"popularity":245,"vote_count":246,"poster_path":247,"release_date":248,"vote_average":249,"backdrop_path":250,"original_title":242,"original_language":23},502132,"People's Republic of Desire","Aujourd'hui, 422 millions de Chinois regardent du streaming en direct, un marché qui atteindrait 15,9 milliards de dollars. Retour sur l'histoire de deux stars en ligne qui sont passées de l'anonymat à la gloire et à la richesse dans l'Empire du Milieu. Leurs salles de discussion en ligne sont devenues des lieux de rassemblement virtuels pour leurs millions de fans - des admirateurs fortunés qui leur offrent des cadeaux numériques et même des travailleurs migrants pauvres. Tous ces personnages découvrent que le bonheur dans le monde virtuel peut être aussi insaisissable que dans le vrai.",[11],0.1933,11,"\u002F2fgy7P9Sm1eN3vxpu3haoYQBenq.jpg","2018-11-30",6.2,"\u002Fa0WaTAUjZyI5bf7XfTppAR0GWd5.jpg",{"id":252,"adult":6,"title":253,"video":6,"overview":111,"softcore":6,"genre_ids":254,"popularity":255,"vote_count":8,"poster_path":256,"release_date":257,"vote_average":8,"backdrop_path":258,"original_title":253,"original_language":117},876870,"Con Vistas al Mar",[11],0.2689,"\u002FhU4NfTcwmUasDE52bgwXwsXq814.jpg","2021-09-17","\u002F6aS8M5fGCoZIUAsylDR8uC1CHdt.jpg",{"id":260,"adult":6,"title":261,"video":6,"overview":262,"softcore":6,"genre_ids":263,"popularity":264,"vote_count":152,"poster_path":265,"release_date":266,"vote_average":267,"backdrop_path":46,"original_title":268,"original_language":269},95827,"Au travail, corps et âme","Télétravail, open space, horaires aménagés… En apparence, les grandes entreprises du secteur tertiaire mettent tout en œuvre pour assurer le bien-être de leurs salariés. Les départements de ressources humaines, architectes et designers d'intérieur rivalisent d'ingéniosité pour développer des environnements et des conditions de travail propices à la créativité et à l'échange entre employés. Mais derrière cette vision idyllique de l'entreprise se cachent des formes de management toujours plus intrusives, qui rendent la frontière entre vie privée et professionnelle sans cesse plus ténue.",[11],0.1664,"\u002FbKKCZExCYzLhQtmcmzTI1TWwJi0.jpg","2012-04-12",6.8,"Work Hard Play Hard","de",{"id":271,"adult":6,"title":272,"video":6,"overview":111,"softcore":6,"genre_ids":273,"popularity":275,"vote_count":32,"poster_path":276,"release_date":277,"vote_average":152,"backdrop_path":46,"original_title":272,"original_language":23},878094,"Unprovoked: A Creative Process",[11,175,274],36,0.328,"\u002FrWi7kpjhrODOaBB87UlN2GgEYu0.jpg","2021-09-24",{"id":279,"adult":6,"title":280,"video":6,"overview":111,"softcore":6,"genre_ids":281,"popularity":282,"vote_count":283,"poster_path":284,"release_date":285,"vote_average":286,"backdrop_path":46,"original_title":280,"original_language":269},81225,"Abendland",[11],0.2532,7,"\u002FdPpj24uIgZy4NMkTBHnuJUuw1ZD.jpg","2011-03-31",4.1,11384,227664,0.1687,"\u002Fcxxxiaj5vkrH52JDTdNfkMlMjrN.jpg","1951-09-03",[293],"YU",{"results":295},{},[297],{"name":111,"iso_639_1":298,"english_name":299},"sh","Serbo-Croatian",[301],{"id":302,"name":303,"logo_path":304,"origin_country":305},168,"Jadran Film","\u002FAmNSNdDaByDpc0bzekWFeYRXDW2.png","HR",[307],{"name":308,"iso_3166_1":293},"Yugoslavia",45,"Un récit documentaire qui fait souvent mouche.",[],{"id":17,"key":18,"name":19,"site":20,"size":21,"type":22,"official":6,"iso_639_1":23,"iso_3166_1":24,"published_at":25}]