Throughout the documentary, Crip Camp continuously emphasizes the campers’ long fight for a sense of belonging in society and their sufferings from society’s othering. Starting the film with the camp, the raw footage of Camp Jened through the lens of James Lebrecht, the director of Crip Camp and a participant in the summer camp, immerses the audience in the atmosphere and inclusion of Camp Jened in the 1970s. Along with the campers at Camp Jened, the audience is also given a sense of the hope and union that the participants felt at the camp. Later as the documentary begins to shift into the modern days, the cross-cutting transition technique employed by the producers that jump between the past and present scenes creates both a connection and distinction between the time periods. The immediate transitions in the two settings are utilized as if to remind the audience that the prohibition of discrimination toward disabled people was not to be seen until the endless protest and strikes joined by the activists. People with disability suffered through the outcome of othering as they are treated inhumanely for centuries by society, having little to no support from the outside world. Yet it was also through their efforts and battle that the world changed for a better and more inclusive society. 

 

In both films Crip Camp and East Side Sushi, the directors portrayed the theme of othering and how characters within the films are denied an opportunity because of who they are. While in Crip Camp, people are restrained from certain services and different chances in their lives due to disability, Juana in East Side Sushi is turned down multiple times to become a sushi chef due to her gender and ethnicity. In the male-dominated industry of sushi-making, Juana challenges such barriers and traditions. Through constant shots of Juana prepping and learning to prep sushi, director Anthony conveys the perseverance of Juana to the audience through non-verbal communication. Without words, the audience follows Juana in her journey of pursuing her dream of becoming a sushi chef. Another brilliant decision made by director Anthony is to preserve the culture and familiarity of Juana with her own language. By doing so, Anthony establishes Juana as a character that refuses to give up her own culture and background despite limitations in her career resulting from her ethnicity. Instead, Juana embraces her culture and sees all the possibilities and creativity that her background brings to her in the work of sushi-making.

As a mother, Evelyn always worries about Joy’s decisions and the impressions that they will leave on her father, Gong gong. As a wife, Evelyn then worries about sustaining the laundry business with Waymond and securing the family’s financial situation. Like Evelyn, the majority of us struggle to show complete satisfaction towards the past and constantly worry about the present and the future. Everything Everywhere, All at Once emphasizes such concern and provides remedy through the portrayal of absurd universes such as universe where characters only have hotdog fingers, universe where gorillas dance with hotdog fingers, and a universe where rocks with google eyes hold conversations. These rather strange settings and characters can be seen simply as comedy purposes and nothing more, yet they cast the main theme of bringing meaning to life. Despite the helplessness and boredom that may be present in some universes, it is what the characters within each universe make out of their lives. Characters with hotdog fingers are able to express their affections using their feet, rocks are able to defy gravity and move around, we as audience can too, grant a meaning to the lives of our own. 

 

Cassius ‘Cash’ Green starts off living in the garage of his uncle while he hunts for jobs, landing on RegalView, a company that will completely torment his life. As a telemarketer at RegalView, Cassius struggles to make much profit until he takes the advice of his coworker Danny: by using a ‘white voice’ during his calls. The usage of ‘white voice’ is not simply the replica of a tone, but an attitude and a privilege that is often associated with wealthy white individuals. In no time, Cassius finds success in his career with his ‘white voice’ and brings tons of cash to the table for RegalView. However, it is when Cassius starts bringing benefits to the company that the film begins to emphasize the corruption of capitalism. Day by day, Cassius is reminded of the position of a Power Caller, the seemingly glamorous and unattainable glass ceiling promised to the workers as a way to hold and motivate them to work harder for the wellness of the company. It is not until all the employees of Regalview begin protesting for workers’ rights that Regalview decides to promote Cassius to become a Power Caller out of fear of losing profits, and it was not until Cassius enters his first day as a Power Caller that he realizes he is working for a larger corporation that relies on the exploitation of workers. 

 

Director Boots Riley made a striking decision to keep the imperfections in the protagonists in order to underscore the weight and pressure of capitalism on the working class. In Sorry to Bother You, Cassius does not turn down the position of a Power Caller and fails to respect the picket line for the purpose of supporting the protest. Facing the burden of his financial situation, Cassius has no choice but to surrender to the temptation and accept the promotion. Cassius’ girlfriend, Detroit, is portrayed as a character that strongly opposes the objectives of WorryFree and Cassius’ career as a Power Caller. However, Detroit herself also falls under the pressure of living in a capitalistic society as she begins to use her ‘white voice’ during her art gallery. The weaving of Detroit’s aspiration in fighting against the corruption of capitalism and her use of the ‘white voice’ then acts as a satire that portrays the burden that capitalism brings to the lower and middle class. 

** Context: a Chinese idiom, “hua bing chong ji” / “drawing pie to ease hunger”, describes where individuals feed on illusions to comfort their current situation or trouble