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Hitting Rock Bottom: Representing Capital in Late Neoliberal Cinema – Senses of Cinema

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The winner of this year’s Best Picture award at the Oscars was a South Korean film about class resentment, economic desperation, and the parasitic dependence of the upper social strata on our world’s basement dwellers and working poor. An actor best known for his juvenile and politically incorrect comedies was widely assumed to be a main contender for the Best Actor award, for his role as a rare jewels dealer who exploits Ethiopian opal miners in a film set on the infamous 47th street, in Manhattan’s seedy diamond district. To any reasonable observer, Parasite’s (2019) victory and the buzz surrounding Adam Sandler’s performance in Uncut Gems (2019) would seem to suggest that change is in the air – that films that raise questions of class and exploitation are beginning to receive broader, much-deserved recognition. Indeed, these films purport to illuminate the “rock bottom” of late modern life, training their cameras on the marginal players in late capitalism: the unemployed and exploit

Issue 94 The winner of this year’s Best Picture award at the Oscars was a South Korean film about class resentment, economic desperation, and the parasitic dependence of the upper social strata on our world’s basement dwellers and working poor. An actor best known for his juvenile and politically incorrect comedies was widely assumed to be a main contender for the Best Actor award, for his role as a rare jewels dealer who exploits Ethiopian opal miners in a film set on the infamous 47 th street, in Manhattan’s seedy diamond district. To any reasonable observer, Parasite ’s (2019) victory and t

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