I Love Boosters
2026 · Boots Riley
A group of shoplifters take aim at a cutthroat fashion maven by stealing from her stores and reselling them at a lower price — what they call 'fashion-forward philanthropy'.
dir. Boots Riley · 2026
Boots Riley's third feature continues one of the most uncompromised runs in contemporary American cinema. The Coup frontman turned filmmaker arrived with Sorry to Bother You (2018), a telemarketing satire that detonated into full-blown surrealism, then went further out with the seven-part I'm a Virgo; here he brings his Oakland-honed agitprop to the heist comedy, following a crew of shoplifters who target a ruthless fashion empire and resell the goods cheap — redistribution as retail. Riley belongs to no movement but has helped will one into being: a Black American absurdist cinema where the wildest genre conceits are load-bearing arguments about labor and capital, delivered with the timing of a great comic and the conviction of an organizer. His craft signature is the practical, handmade surreal — visible seams, in-camera gags, production design doing the ideological work — a deliberate refusal of digital slickness. That a science-fiction shoplifting comedy doubles as a treatise on price, value, and theft from below is not a bug; with Riley it is always the entire point.
Lines of influence
- Sorry to Bother You (2018) — Riley's own debut supplies the template: literalizing a capitalist metaphor (the 'white voice' dub, the equisapien reveal) via code-switching audio tricks and practical body-horror rather than CGI.
- Putney Swope (1969) — Deadpan advertising-world agitprop that satirizes commerce through non-sequitur sketch logic and cheap in-camera gags, the direct grammar Riley's absurdist satire inherits.
- Bamboozled (2000) — Media satire that escalates into grotesque literalization, using production design (the minstrel-show set) as an explicit polemical argument.
- Brazil (1985) — Handmade retro-futurist sets and practical ductwork build a world where the production design itself is the anti-bureaucratic, anti-capital argument.
- Playtime (1967) — An entire modernist city built as a set so that choreographed comic staging within the frame becomes a critique of consumer society.
- Repo Man (1984) — Punk lo-fi sci-fi that welds labor and economic satire onto a genre skeleton with cheap surreal effects and deadpan class rage.
- Big Deal on Madonna Street (1958) — The bungling-crew heist-comedy blueprint, where process comedy and mistimed incompetence, not slick execution, drive the caper.
- The Ladykillers (1955) — Ealing ensemble heist farce whose meticulously mistimed comic beats and grotesque character-actors model the crew-comedy timing.
- The Science of Sleep (2006) — Cardboard-and-tape in-camera surrealism that stages dream logic with visibly handmade practical effects, refusing digital slickness.
- Bedazzled (1967) — A wish-economy satire built as escalating comic vignettes, using genre conceit to literalize a Faustian bargain over value and desire.
- Get Out (2017) — Genre cinema as Black social allegory, literalizing extraction and bodily commodification through a controlled high-concept conceit.
- They Cloned Tyrone (2023) — Blaxploitation-inflected conspiracy sci-fi comedy that fuses genre pastiche with anti-corporate, redistribution-minded satire of a manipulated neighborhood economy.
- Everything Everywhere All at Once (2022) — Maximalist absurdist sci-fi assembled from DIY practical gags and prop-based surrealism, rooted in working-class debt and labor anxiety.
- Swiss Army Man (2016) — Deploys practical-handmade, in-camera surreal effects as the comic and emotional engine, sharing Riley's commitment to visible physical craft over VFX.
- Attack the Block (2011) — Stages working-class estate politics inside a creature-feature, using practical monster effects and genre thrills to carry class critique.
- Blindspotting (2018) — Same Oakland vernacular and code-switching, heightening verbal performance and rhythmic comic timing into satire of race, value, and gentrification.