Dry, sluggish, and repetitive, The Assistant leaves one wondering why writer/director Kitty Green chose a narrative film rather than a documentary or one-act play to explore one of the most fiery social topics in recent years.

In her depiction of a pivotal day in the life of Jane (Julia Garner, Ozark), the titular employee for a Harvey Weinstein-like movie producer, Green nobly confronts the hyper-relevant and important issue of sexual harassment and the troubling means by which powerful men get away with such behavior.

Though visually sharp, nicely edited, and featuring strong performances cast-wide, The Assistant employs questionable storytelling choices to convey the company’s troubling office environment. If Green’s goal is to numb viewers with the tedium of Jane’s job, mission: accomplished, but substantial takeaways beyond a basic recognition of right and wrong are absent.

Many of these limitations can be traced to the invisibility of the abusive executive himself, who’s presence and influence is everywhere, but is only directly involved via muffled, largely indecipherable phone conversations. Scattered words barely come through the receiver, leaving viewers to piece them together with his tone and Jane’s reaction to guess even a semblance of what was said and its consequences — a frustrating game that does the film few favors.

In addition to the general lack of plot, Green’s decision to not pair the scenes with music puts extra emphasis on The Assistant’s other elements to carry the load, but the skeletal script isn’t substantial enough to deliver results and its lone stretch of action is similarly flat.

During Jane’s pivotal midday meeting with Wilcock (Matthew Macfadyen, Succession), the company’s head of H.R., she brings him rumors and would-be damning evidence about her boss that don’t add up to much. While Wilcock’s blunt questioning of her claims’ validity is a bit forceful and seemingly misogynistic, it also highlights the non-case she actually has — though his parting words are damning and convey the troubling systematic complicity within the company.

By presenting an unsubstantiated argument from a peripheral figure and in such uninspiring ways, Green cheapens the subject at hand and leaves the door open for other filmmakers to craft a more fully realized work. Her film also makes the mediocre Bombshell look like a masterpiece.

Grade: C-minus. Rated R. Now playing at Grail Moviehouse

(Photo: Bleecker Street)