Boots Riley is the truth. His directorial debut, Sorry to Bother You, is one of the most bizarre cultural commentaries you will ever see. The targets of Riley’s critiques vary, from broad concepts like race relations and corporate greed, to more specific ideas like viral fame and code-switching. But the setup is simple: Cassius “Cash” Green (Lakeith Stanfield) is a black man in Oakland struggling to make his rent – which he owes to his very generous uncle. He’s hired for a telemarketing job, but fails to find success until he listens to a seasoned veteran: use your white voice. Armed with the pleasant, non-threatening voice of a milquetoast white man (David Cross), Cash quickly climbs the corporate ladder – and stumbles into the weirdest things along the way.
In Annihilation, a band of women set off to investigate a bizarre natural phenomenon that has resulted from a fallen meteorite. Alex Garland directs the film and wrote the screenplay (based on a novel by Jeff VanderMeer, which is part of a trilogy). The mysterious event has been named “The Shimmer” in deference to the prismatic bubble that surrounds a lighthouse at the epicenter – a bubble that is growing. No previous expeditions have returned. Like Garland’s previous directorial work Ex Machina, Annihilation dazzles with its visuals, sports an intriguing and tight plot, and ultimately leaves the audience with few explicit answers about what exactly has been going on. There has always been power in subtext, especially in science fiction, and Annihilation is an impressive and intelligent new entry to the genre.