a A luxury yacht marina might seem like a good place to relax. But movie audiences will feel somewhat differently about the allure of this type of private cruise after watching sadness triangleFirst Prize Winner at the Cannes Film Festival.
A nasty graphic spectacle, featuring profuse vomiting and diarrhea of high-income travelers, drew cheers and cheers from the audience at its premiere on the French Riviera and then again at the annual film festival in Toronto last week, before showing in British cinemas next month.
A similar chaotic noise came from a hall in a London theater on Thursday during the first night of Richard Eyre’s new play about class and politics, snail house, when the actress played a poor Irish waitress, issued an emphatic parting “And fuck you!” For deserving guests at the Silver Service Gala Dinner.
Both the film and the new theater are examples of the rapidly growing taste for furious attacks on privilege and wealth. Establishing the rich villain’s luster and security in the scenario is no longer just a precursor to a satisfying deconstruction, but a precursor to an aggressive, or even fatal, challenge to social order.
Two films in the last two weeks, the forgivenchampionship Jessica Chastain Ralph Finn as wealthy travelers to Morocco, and I came, a Netflix thriller with Hugh Bonneville starring as a wealthy London philanthropist, has also charted this rebellious terrain. In both films, comfortable rest is revealed to be rough, fun, detached, and in the case of Sir Hector Blake of Bonneville, very dangerous.
“There is a certain horrific material element used to undermine the rich in these stories that explode in a well of rage against the system,” said broadcaster and film producer Jason Solomons. “I think the filmmakers sense the levels of anger and frustration that’s out there, the frustration of trying to break in and make a living, and provide the fun of some vent to the audience.”
He also revealed in Toronto last week the concern NannyHorror film starring Anna Diop as a Senegalese woman who works inside the home of a wealthy New York couple, yearning all the time to be with her child.
British actress Florence Boge soon to address similar social inequalities. 2019 star is annoying Midsmar She is producing and starring in the film version of the bestselling Nita Prose book, the maidMolly, a poor cleaner at the fictional Regency Grand Hotel, uncovers the deadly essence of the five-star lifestyle. “The uniform is my freedom. It is the cloak of absolute invisibility,” she notes in the novel, as she passes along the corridors in search of a killer.
In the wake of parasitethe bloody South Korean Oscar-winner, and Emmy successes last week in TV drama squid game And the white lotus, located in a luxury resort, there is a clear global appetite for exposing and mocking huge gaps in wealth and status. Both series focused on the desperation of service classes.
Doomed yacht sadness triangle Filled with people who represent the wealthy private jet owners of the modern world. Among them were a grizzly Russian oligarch who sailed with his wife and lover, and an elderly British gunsmith and his wife. The ship’s reluctant captain is Woody Harrelson, who is ultimately the accidental agent of destruction in the Robin Ostlund movie. Swedish director, best known for his alpine drama force majeure The spelling of the world of art Squareeventually handing over power to one of the yacht-cleaners, Abigail, played by Dolly de Leon, in a story that reflects a long history of cautionary tales in which persecutors rise to avenge their masters.
“sadness triangleSuch as parasite He did, turn class power upside down by leveling people. Solomons, who is producing a movie based on the book, said waiter in paris It also examines class gradations. “We’re seeing stories where money gets turned into junk and wasted. Movie audiences, of course, are caught between these two categories of fortunes. Watching will be uncomfortable for some and maybe that’s what some of these directors intend,”épater les Bourgeois‘, or provoke the middle classes, say the French. After all, we all feel guilty about these divisions, wherever we are.”
Director Jessica M. Thompson takes class war aggressively into the realms of horror in her film the invitationReleased last month. A new story about vampire legends, it tells the story of an American woman who is invited to a wedding in the English countryside by the lord of the mansion, who claims to be a relative. Out of place in such a sumptuous environment, the heroine quickly discovers that she is staying in a house where wine is not the only red liquid flowing freely.
Violence is also literally below the surface in I came. Here the necessary confrontation between the “lower ranks” and the elite occurs when an urban protester and a “graffiti writer”, played by George MacKay, break into the luxury London home of a former lawyer to discover that his basement is much more than a basement. Pottery studio apparently.
As in the well-established tradition of horror, basements play a large role in many of these plots. in 2019 parasite The basement door behind a Korean pickle jar store holds the key to a dark family mystery. in I came It’s where Bonneville emerges from his warped rage, as revenge for a perceived childhood at the hands of a young refugee boy. A killer, but protected by his social rank, tells his unsuspecting next victim that he feels no guilt because “everyone has a choice” about how to live their life.
“Not when you are poor, nowhere to go,” replies the Iranian masseur, a young man hoping for asylum in Britain. Ayer’s new play, the first after a long successful directing career, was written during the circumstances of the Covid settlement. The lockdown was originally scheduled to be called zero hours, has revealed. A public school drama puts on a festive evening meal in honor of a famous and self-satisfied pediatrician who has been knighted. However, the evening is punctuated by the interventions of the catering team and the conflicting political views of my two surgeon children.
Ayre targets the satisfaction of those who have moved away from the experiences of ordinary people. It gives an idealistic young teenager some revolutionary fervor. Sarah, 18, tells her family that despite the pandemic, “we are still slaves.” It proceeds to quote fixed lines from Sir Thomas More The virtuous city: “When I think of any social order prevailing in the modern world, I cannot, so help me God, see it as anything but a conspiracy of the rich to advance their own interests under the pretext of organizing society.”
We may think we are on the verge of social change, she says, but these words were written, she points out, in 1516.