Finally, class rage on the big screen provides a reflection of the particular despair and frustration underscoring our real-world present. alisonwillmore writes
Photo: Claire Folger/Lionsgate The Thrombeys, the family whose members make up the bulk of the characters in Rian Johnson’s new movie, Knives Out, represent a rich assortment of awfulness. Linda takes every chance to burnish her reputation as a self-made businesswoman, never mentioning the sizable starter loan she was given. Hubby Richard appears to be simply along for the ride, at least until the affair he’s been having comes to light.
But these depictions are also fractured in a way that reveals the split in the conversations we have about wealth. In some of this year’s films, the rich are the easy-to-loathe antagonists, while others reach for the larger, more nebulous target of the system that enables and empowers them. Ironically, Steven Soderbergh’s The Laundromat, a satire that strives to be explicitly political, ends up in a similarly muddled place by reaching too wide with its selection of Panama Papers stories. Explanatory vignettes about tax shelters, trust funds, shell corporations, and reinsurance fraud are presented as a series of late-capitalist fables about how the one percent increasingly distances itself from the rest of us.
The Kims, who slyly maneuver their way onto the Parks’ payroll by pretending not to know one another as they take various roles as tutors, housekeepers, and drivers, pronounce the Parks to be “nice” with an asterisk: “They’re rich but still nice,” Kim patriarch Ki-taek declares, as his family, who normally lives in a cramped basement apartment that drunks tend to pee outside of, makes use of the Parks’ house while the wealthier characters are out of town.
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