It’s why Soylent Green is people it’s why The Twilight Zone’s “Eye of the Beholder” has such intense, pig-faced impact. You have to go big with dehumanization, especially at the end. When taking away a person’s very personhood, altering it irrevocably, it has to be intense enough so that it stands out and shocks from the daily mundanities that devalue us. Without David Cronenberg’s over-the-top nastiness in The Fly’s complete decomposition of Jeff Goldblum, the allegory for aging’s toll on the body (or the AIDS epidemic, as some have read the film) wouldn’t be near as potent. The added element of genetic mutation and animalistic transformation only boils these debates about labor, capital and work over with its heightened weirdness. This also causes a rift between Green and his girlfriend Detroit (Tessa Thompson), the latter of which is plenty happy with struggling for one’s art so as not to be part of the corporate machine. Steven Yeun’s labor organizer finds unexpected opposition when Lakeith Stanfield’s Cassius Green gets placed on the fast-track to the top after showing a knack for sales. The film’s central clashes all center around money, jobs and the philosophies around both. Sorry to Bother You’s transformational twist follows in the cloven footsteps of politically minded body horror and science fiction that’s been around since Ovid was warning the Romans about messing with the pantheon. These Equisapiens are naked, tortured abominations that are everything evil about compromising oneself for maximum achievement.
It’s revealed that a new-wave slave-labor mogul, Steve Lift (Armie Hammer), is turning his “employees” into horse-people so they can work harder than regular humans.
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