My friend Susana notes that it would be better to describe The Take as emotional, rather than affective. And it’s certainly true that what we see is affect captured: affect given a subject and object. In Brian Massumi’s terms, this is emotion.
So these Argentine men define their subjectivity through the emotions that they express: their pain at failing to fulfil their duties as a husband or father in fact underlines the sense that their proper role is as pater familias; their pleasure in labour confirms and justifies their identity as workers.
Likewise, their emotions have very specific objects: sentiment ties them to other people (wives, fathers) and things (machines, commodities).
In short, the emotions that the film projects upon its human subjects define it as melodrama, a hackneyed tale of the desire for work and social integration, rather than the social disintegration that a more (self-)critical approach would demand.
And yet, because emotion is affect captured, we can still read back affect through emotion. There is always something that goes beyond or escapes.
Indeed, the very fact that the film’s attention to male affect is so excessive already troubles its attempts at a neat liberal resolution. The film takes too much pleasure in the men’s tears on which its cameras linger. There’s something improper about its attention, so often willing the men to cry, that we might wonder about the limits of propriety itself.
And so it is perhaps that this somewhat disturbing excess offers a line of flight along which we could imagine other forms of community, other forms of solidarity.