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Much of the last 10 years of independent cinema has played like many low-budget auditions for filmmakers aspiring to become mainstream. This is not a hit against the few who made it or their movies hugged – it's almost impossible to do anything good enough to get a foothold. And then you get the occasional director like David O. Russell winning the most prestigious independent awards for a mainstream but eccentric movie populated by A-list actors, as happened in 2013 when Silver Linings Playbook with sound A $ 21 million production budget has been awarded to the Spirit Awards. So, what is it that independent cinema? What is his real purpose? A launch pad for Hollywood or an anti-Hollywood space for cinematic experimentation? Are these both?
These are the questions I asked myself before I first saw the first feature film by Boots Riley, the first feature film by Boots Riley, Sorry to Bother You . I will be very clear with you, dear readers, that this surreal comic moral tale, about a poor man who sells his soul to ride in a golden elevator to the heights of a dubious corporation, is a ball-to-the- wall, breasts a spectacular orgy of anti-capitalist and anti-capitalist ideas launched in 105 minutes of a gloriously unpredictable plot. And just when you thought the movie could not get any more weird, it's getting closer to science fiction. Here, my friends, the independent cinema
Cassius "Cash" Green (Lakeith Stanfield) lying in the Oakland garage of his uncle. He is so poor that he is measuring his fuel tank refills in the jingle change. "Forty in two," he said to the cashier, throwing three coins on the counter. Yet her provocative friend Detroit (Tessa Thompson) sticks by her side, rolls or dies – Cash can be broke, but he still has his heart and his values. Everything changes when Cash gets a job in a call center and becomes the best telemarketer in the building, thanks to his lover Langston (Danny Glover) giving him the secret of success: use your "white voice" ". Whenever Cash makes a call, David Cross's nasal tone emanates from his mouth. Speaking in a low voice, he sends people to the other end of the line to buy what he has for sale; He does not care what the product is, as long as someone pays.
Meanwhile, Detroit is taking a job at the call center, too, where there is talk of a brewing union, led by Squeeze (Steven Yeun). The rise of Cash within the company separates him from his friends, and Riley's representation of the clan of the elite assholes at the top is a sheer glow. If you thought the interest of Tech Bros for Silicon Valley was diminishing, Riley's version of a Bay Area capitalist asshole is cut into pieces with a block of Ginsu knives sold by QVC : messy and shredded satisfactorily
It's really a golden elevator that only the biggest sellers of the business can take, and inside this elevator, Kate's Diana DeBauchery Berlant pumps these "callers of power" with vigorous platitudes that assure them of their masculine power. And at the top of the top of this pyramidal empire, there is a man, Steve Lift, a cocaine-rich imbecile who plays the role of a nasty Armie Hammer, who is getting close to the spirit of the old representations of Bill Paxton. Steve is a petulant child in the body of a man adorned with many fashion scarves. Although the guy is a total trash, the media love him, allowing him to sincerely apologize again and again for the disguises that this billionaire disruptive inflicted on the world, like his company Worry Free, which offers the room and table for life in exchange for contract servitude. Oh, my god, we're so screwed.
He evokes, of course, titans like Elon Musk or Jeff Bezos, which is why, when I saw this movie at Sundance, I stated that I would point to the face if Amazon bought and distributed the film. (Annapurna stepped in instead.)
In the midst of all the chaos of the corporate sphere, Riley is also satirizing the outside world and the Americans' appetite for our own destruction. We see excerpts from a very popular TV show called I've Got Kicked Crap Out of Me where candidates are beaten to a pulp for a bit of change and a little fleeting of fame. These sides could be considered tangent, and intrigue developments sometimes seemed tenuous, but I found them totally audacious and confident, as if Riley knew the rules of each writing guide and the demand for "realism" "and he says: Nah, I'm good," because he had more points to do with a scene or a character, so I enjoyed what some viewers might consider "mistakes."
Stanfield, though his contribution is gigantic, exudes the easy charm and sensibility of Bill Murray and the comedic, nuanced delivery of early Eddie Murphy, and I hope roles after this film, come out and Atlanta does not end, but it will need creators as audacious as Riley for that.
There is a saying among filmmakers that your first feature film is best to be your business card, your card identity laid bare on the page and screen, because you will never be more daring, more yourself, than you were then. Whether Riley is mainstream or not, he has shot himself with Sorry to bother you a bleeding movie with the passion and energy of a director who desires to do, above all, a revolution, not just a movie.
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