"Boots Riley is one of the few American filmmakers who are most visibly invested in conversations about class, capitalism, and aesthetics in their works. He pushes each subject to the point of breaking in absurdist works whose visual ambition and thematic audacity can often feel as knowingly chaotic as our contemporary world. With " Sorry to Bother You," for instance, he rendered a call center into a pro-union narrative whose dystopian and sci-fi realities show how industries position workers as slave labor."
"" I Love Boosters," which premiered at SXSW in March, is as bold as his prior projects, taking aim at the fashion industry's exploitation through the eyes of aspiring designer and booster Corvette (a spellbinding Keke Palmer). Corvette works with a team of Boosters-Sade ( Naomi Ackie) and Mariah ( Taylour Paige)-who often target the popular brand Metro. But when Metro's coldhearted designer Christie Smith ( Demi Moore) steals Corvette's concepts, the boosters' rivalry with Christie becomes personal."
"Inspired by a song of the same name by Riley, which he made with his band The Coup for their album Pick a Bigger Weapon, "I Love Boosters" is a global story intertwined with the local that also comes to include the Chinese sweatshop workers Jianhu ( Poppy Liu) and surprising turns by LaKeith Stanfield and Don Cheadle."
Boots Riley’s work centers class, capitalism, and aesthetics, using absurdist, visually ambitious storytelling to mirror contemporary chaos. Sorry to Bother You turns a call center into a pro-union dystopia that frames workers as slave labor. I’m a Virgo retools money into a political statement, imagining an activist superhero. I Love Boosters targets fashion industry exploitation through Corvette, an aspiring designer and booster, working with Boosters-Sade and Mariah to challenge the popular Metro brand. Metro’s designer Christie Smith steals Corvette’s concepts, making the rivalry personal. The story expands to include Chinese sweatshop workers and features unexpected performances, linking global labor realities to local creative conflict.
Read at Roger Ebert
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