Boots Riley prefers to call himself a communist rather than simply an anti-capitalist. “A lot of stuff that calls itself anti-capitalist is just afraid to use the word socialist or communist,” he explains. This distinction is important, especially because his work offers a deeper critique of capitalism.
From his start with the hip-hop group The Coup, Riley has aimed to unpack capitalism’s troubles. His albums, like Kill My Landlord and Genocide & Juice, took a sharp look at a culture of excess. Moving into film, his debut feature Sorry to Bother You tackled the greed of telemarketing, while his series I’m a Virgo highlighted the commodification of Black bodies.
His latest film, I Love Boosters, uses dark comedy to explore shoplifting as a survival tactic. It comes at a time when debates over retail theft are heating up. Some view small-scale theft as a form of protest, but Riley warns it often leads to stricter policing and unfair treatment of workers. “Theft isn’t separate from capitalism; it’s built into it,” he says, noting that many major corporations have used theft as an excuse to justify layoffs and higher prices.
In I Love Boosters, Keke Palmer stars as Corvette, an aspiring designer leading a group of female shoplifters. They steal from high-end stores and give back to their Oakland community. Demi Moore portrays Christy Smith, a designer who represents the wealthy elite and views these actions as a direct threat to her business.
Riley’s films often fuse surreal elements with social messages. He believes that the style of his storytelling helps convey serious ideas in a unique way. “I want people to feel something, to think in different ways,” he explains.
Riley also speaks out on social justice issues. He supports the Palestinian cause and acknowledges the risks that come with vocalizing such views in Hollywood. “Speaking out doesn’t stop me,” he asserts, referring to fellow artists who faced backlash for their beliefs.
His independent filmmaking approach allows him to push boundaries, free from the grips of traditional industry pressures. “I’m not trying to get a job,” he says, emphasizing his commitment to creating meaningful art.
As he navigates the complexities of politics in the film industry, Riley remains aware of the potential contradictions. He engages with audiences who feel motivated to act for change after watching his films. He recalls one instance where a group of telemarketers sought his advice about striking. “They had agreed to work from home, so that wouldn’t quite work,” he jokes.
Despite the label of anti-capitalism fitting him well, Riley hopes for a movement that empowers people by realizing their collective strength. “We can make real changes,” he believes.
For those interested in more about the intersection of art and activism, articles from sources like the New Yorker and NPR provide further insights into how creative minds influence social movements.
