The story follows a luxury cruise and the businesspeople, influencers, supermodels, and investors onboard, who are just looking to have a good time, practically blind to the service crew meeting their every possible need until a lot of shit goes down. Triangle of Sadness (dir: Ruben Östlund): A darkly comic celebration of vanity, this critical darling is part of Östlund’s career-long engagement with old ideologies in contemporary environments. It is hard to imagine Johnson created Bron without inspiration from Musk’s carefully cultivated aura of misunderstood genius: Whatever Bron says is lapped up by sycophantic friends (check responses to anything Musk tweets) he takes credit for inventions that aren’t his (Musk’s personal patents are limited to the exterior design of Tesla cars) his rhetoric and goals are boldly impossible (remember when 2021 was the year humanity would reach Mars? Or April 2020 would be America’s last month dealing with Covid?) his labour rights abuses are excused for quirkiness (Twitter headquarters literally has mattresses on the floor right now) his appraisal of art and pop culture is merely a marker of social capital and not backed up with any actual knowledge or interest (revert to Twitter) and he hypes products that would revolutionalise the world (as long as the world uses only his products - for example, most Tesla charging stations are incompatible with non-Tesla cars). And then, a murder happens.Įxpress Explained | What’s inside the $126,000 Oscars gift bag and who wins it? It is about a billionaire, Miles Bron (Ed Norton) inviting his close, rich friends - a scientist, a politician, a fashion designer, and a men’s rights activist - to a private island for a weekend of parties. Glass Onion: A Knives Out mystery (dir: Rian Johnson): Set smack in the middle of the pandemic, this is drawling Benoit Blanc (Daniel Craig) in his second outing in the detective franchise. Here’s a spoiler-free rundown of three films from last year that pointed in the face of the billionaire class and made us uproariously laugh. 2022 was particularly pleasing in that regard - perhaps CEOs extolling the virtues of clever investment and 7-day work weeks on news channels every day annoyed enough filmmakers to take them head-on with cunning satires, some of which even made it to the Oscars 2023 nominations. Class conflict and wealth inequality have thematically dominated films since the very beginning of the medium - from Metropolis (1927), a German interclass romance in a future dystopia, to Knives Out (2019), an American whodunnit turned on its head with a grotesquely rich family crushed underneath.
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