Cassius Green (Lakeith Stanfield) has finally landed a job; he’s a telemarketer. But there’s something sinister about the organisation he works with. Soon he must decide whether to stand with his fellow abused workers or continue to climb up the co-orperate ladder, all the while getting closer and closer to the horrifying truth behind his company’s best client.
A plot summary does very little to illustrate the immense charm of Sorry to Bother You. It’s one of the funniest and most experimental films of the year. It has the aesthetic touches of a Michel Gondry film but with a unique easy-going approach to the narrative. Our main character is quite literally thrown from one scene into another. Character’s on the phone to each other find themselves face to face. It’s a self aware film and one that’s not afraid of breaking the Fourth Wall.
The parody is clear as the film targets racial and income inequality. There is a twist in the final act that is shockingly funny but also profoundly meaningful with regards the film’s satire. It’s about dehumanization and self interest. It’s an urgent and beautiful message that contrasts the weirdness of our protagonists against the perversity of modern living and suggests that weird is important. It’s our strangeness that makes us special and might just hold the key to the problems the film portrays.
The whole thing is grounded by the hilarious but very natural performances of it’s cast. Stanfield is a wonderful lead, both relatable and compelling. Tessa Thompson is effortlessly charming and eccentric, and Armie Hammer is comically sinister as the leader of a lifestyle cult. They are supported by dozens of memorable smaller roles and cameos which make this odd world feel full.
Sorry To Bother You is one of the most exciting and entertaining transgressive experiences in recent years. It’s a troubling social satire, a hilariously surreal comedy, and very unique.