Boots Riley’s ‘I Love Boosters’ and the Surreal Critique of Capitalism

Boots Riley, the Oakland-based filmmaker and former member of the hip-hop group the Coup, has long used his art to challenge capitalist structures. His latest film, I Love Boosters, continues this tradition, framing shoplifting as a form of proletarian resistance while navigating the complexities of labor, identity, and systemic inequality. The film, which premiered in 2026, has sparked renewed debates about the moral and economic dimensions of retail theft, with Riley positioning himself as a vocal critic of capitalist exploitation.

The Film and Its Themes

I Love Boosters follows Keke Palmer’s character, Corvette, a fashion-obsessed young woman who leads an all-female shoplifting crew in San Francisco. The film uses dark comedy and magical realism to juxtapose the struggles of working-class communities with the excesses of capitalist systems. Riley’s narrative extends beyond theft, linking it to broader issues of labor exploitation and global supply chains. For instance, a Chinese factory worker, played by Poppy Liu, teleports into the story, symbolizing the interconnectedness of local and international labor struggles.

Riley’s critique of capitalism is unapologetic. He argues that theft is not an aberration within capitalist systems but a foundational element, citing historical examples of colonialism and industrialization as forms of legalized theft. “Theft is not outside of capitalism. it’s what capitalism was built on,” he states. The film’s title itself serves as a nod to the subversive potential of “boosting,” a term increasingly associated with small-scale retail theft as a form of resistance.

Controversies and Collaborations

Riley’s work has not been without controversy. His collaboration with Annapurna Pictures, a production company linked to billionaire Megan Ellison, has drawn scrutiny. Riley clarifies that his partnership with the company was limited to the development of I Love Boosters, which was later financed by Neon. He also addresses criticisms of his political stance, emphasizing his commitment to labor movements and radical transparency. “I’m a communist,” he asserts, rejecting simplistic labels like “anti-capitalist” that he believes dilute the urgency of systemic change.

The film’s promotional tour included unconventional tactics, such as a stop at an Oakland gas station where cast members gave away free fill-ups. Riley, known for his eccentricity, described the event as a celebration of local culture, even as Oakland passed an ordinance banning roosters—a nod to the film’s whimsical tone.

Impact and Legacy

Riley’s work has inspired grassroots organizing, with viewers reporting increased engagement in labor movements after watching his films. His 2018 debut, Sorry to Bother You, which satirized telemarketing and corporate greed, remains a touchstone for discussions about economic inequality. I Love Boosters builds on this legacy, using surrealism as both a narrative tool and a political statement. “The style and content are inextricably linked,” Riley explains. “I want people to have emotional and visceral reactions to the ideas.”

As debates over retail theft and labor rights continue, Riley’s films serve as a provocative lens through which to examine the contradictions of modern capitalism. Whether viewed as art or activism, I Love Boosters underscores the enduring relevance of his vision.