Working: What We Do All Day
Filmmaker: Caroline Suh (Director)
Envoy: Caroline Suh (Director)
This is a Netflix title which will need to be streamed or downloaded from the Netflix platform directly and may not always be available in your country. Subtitle availability is subject to what is on your local Netflix platform. This title cannot be screened in China or Russia.
One mom must quit a job over scheduling woes, and another feels social media pressure while juggling gigs. Automation has The Pierre Hotel staff worried.
To fuel his music career, a man works an hourly job at a self-driving vehicle company. A home care supervisors faces a worker shortage over low wages.
A young dad admits he thinks about work and talks to co-workers after hours. A Mississippi lobbyist goes to bat for the struggling caregiving industry.
The founder of a home care company takes lower pay so she can give her employees a better salary. A CEO admits his driverless trucks will take away jobs.
About the Envoy:
Caroline Suh is an independent documentary filmmaker who, over the span of her career, has directed, produced and served as the showrunner for feature films, series and commercials. Recently, Suh directed the film SORRY/NOT SORRY (TIFF, Greenwich Films), and executive produced the Emmy-winning four-part Netflix series WORKING: WHAT WE DO ALL DAY, which she developed with President Barack Obama and his company Higher Ground. She also directed the feature documentary Blackpink: Light Up the Sky for Netflix about the K-pop girl group phenomenon, which was released October 2020. For Netflix, Suh also adapted the best-selling book by Samin Nosrat, SALT, FAT, ACID, HEAT, into a cinematic four-part series with Alex Gibney’s Jigsaw Productions. With Jigsaw, she also created and directed the six-part series 4% on Epix about the lack of female directors in Hollywood. Previously, Suh also served as showrunner and director at RadicalMedia for Sundance Channel’s Iconoclasts series, while also collaborating on numerous other television, film and commercial projects. Her directing career began with the critically acclaimed directorial feature-length debut, Frontrunners (Oscilloscope Pictures).
