Mining the depths of film entertainment for all mankind. With Scott Johnson, Brian Dunaway, Randy Jordan, and Brian Ibbott. Hosted on Acast. See acast.com/privacy for more information.
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Sorry to Bother You
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Manage episode 211484971 series 115441
Content provided by Film Comment and Film Comment Magazine. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Film Comment and Film Comment Magazine or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
“Audiences will enjoy Sorry to Bother You in one go, but the film invites and can stand up to multiple viewings, in much the same way that complex rap lyrics benefit from repeated plays and familiarity gained from memorization,” Ina Diane Archer writes in our July/August issue. “Boots Riley is, by his own definition, a storyteller—a socially conscious, political artist, communist, proud Oaklander, and the beloved front man of The Coup.” Riley’s scabrous satire tracks a telemarketer (Lakeith Stanfield) on the rise in a company engaged in some nefarious labor practices that bring corporate malfeasance into a surreal realm. For our latest episode, Archer joined me in a discussion of the feature and the many layers she unpacks in her essay.
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511 episodes
MP3•Episode home
Manage episode 211484971 series 115441
Content provided by Film Comment and Film Comment Magazine. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Film Comment and Film Comment Magazine or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
“Audiences will enjoy Sorry to Bother You in one go, but the film invites and can stand up to multiple viewings, in much the same way that complex rap lyrics benefit from repeated plays and familiarity gained from memorization,” Ina Diane Archer writes in our July/August issue. “Boots Riley is, by his own definition, a storyteller—a socially conscious, political artist, communist, proud Oaklander, and the beloved front man of The Coup.” Riley’s scabrous satire tracks a telemarketer (Lakeith Stanfield) on the rise in a company engaged in some nefarious labor practices that bring corporate malfeasance into a surreal realm. For our latest episode, Archer joined me in a discussion of the feature and the many layers she unpacks in her essay.
…
continue reading
511 episodes
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