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In Boots Riley New Trippy Movie Sorry To Disturb You Hunger is the main line. Hunger for the truth The hunger for justice. The hunger to succeed personally, and even more so in professional life. At RegalView, a low-level telemarketing firm in Oakland, a path to success comes in the form of a code change. The discontent Cassius Green (LaKeith Stanfield) is thirsty to prove himself.
He is a damaged soul, eager for anything other than failure and misery. On the advice of a colleague (Danny Glover), Cassius begins to use a "white voice" when talking to potential customers – what whites "have desired to hear," says Glover – and his result is immediate. Cassius becomes the best seller of the company, earning the title of "Power Caller" and a promotion on the floor, where it is necessary to speak his white voice at all times.
But career advancement accompanies a moral clause. Cassius is stuck between doing what's right and what's profitable; One of the reasons he took the job in the first place was to help his uncle save his home, which was in foreclosure. These are questions of survival. Riley is throwing us a volley of bullets. What are you ready to give up for the American dream? Your friends? Your principles? For someone like Cassius, there are always conditions to do it. For blacks, in particular, success has its own small print.
Sorry to bother you is a delightfully unbearable thing: an allegorical satire on the exploitation of labor and land. (He joins a cohort of black ancestors coming to the screen in recent years, including Get Out by Jordan Peele and Random Acts of Flyness, which begins in August on HBO, Nnedi Okorafor & # 39; s Who Fears Death is also developing at HBO.) Like reality, the film is a mix of genres in the most satisfying way: a comedy about the place work, an existential drama with elements of science fiction. The heart of the film is centered on economic injustice and class struggle. It's heavy, and rightly so. These are difficult moments. But Riley, a long-time activist and rapper, who wrote and directed the film, never clutters the audience at once: he fleshes out the discomfort of the film with flashes of black humor thanks to its exceptional cast (an exceptional Stanfield, Tessa Thompson and Armie Hammer).
The Tsuris surrounding Cassius worsen while their colleagues form a union and threaten RegalView's brass for a strike. "The problem is already there," says Squeeze (Steven Yeun), the main organizer, at one point. "I'm just helping people fix it." But it's too late for Cassius; Intoxicated by the taste for success, he refuses to join their cause, even as his girlfriend artist, Detroit (a radically enchanting Thompson), finds his new situation in contradiction with his own convictions. (According to one of her t-shirts: "The future is female ejaculation.")
Riley's gonadal dystopia begins to unfold in more detail once Cassius settles in at executive level, where he sells "on the phone". "RegalView, in fact, is part of a larger company called WorryFree Solutions.His disorganized visionary of a CEO, the insane Steve Lift (a role that Hammer had to play) offers people a job for life, housing and food in exchange for a non-stop workforce.WorryFree, however, is everything but paradise.The people who register live in dwellings similar to those of A prison, eat leftovers and work as contracted servants until the end of their lives.It is a perverse critic of human capital – the economy of concerts, l & # 39; mass incarceration, an underpaid labor force in a grim illustration – and an existence that does not feel too far away from what a possible future may contain in fake utopias like Silicon Valley. In this, Riley gives us one of the most cutting-edge pieces of political art. Sorry to disturb you [1 9459007] is born from the best fiction, inspired by the fury and turbulence of real life.
In the final and most telling act of the film, Cassius is awakened by sleep. After a face-to-face meeting with Lift takes an absurd turn, he is forced to reconsider the cost and the question of his success (I will not spoil the surprise here). For its part, Riley reconstructs the pursuit of all-purpose capitalism in a collage of racial horror. The conclusion is both shocking and strangely poetic, but never has it seemed so incredible. All along, the film's objectives remain stuck on the issue of hunger. Only in the end, Riley is not afraid to go a step further and show how helpless, and especially colored people, no matter how many fights they have put in place, end up to be swallowed whole.
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