It would all be more acceptable though McKay he wasn’t so terrified of not being understood by everyone. In the first meeting with the president of the United States (Meryl Streep, the first of an endless series of cameos of famous people, very anxious to get on the train of the film that is on the side of the righteous) we constantly see photos held in the oval room of her with ridiculous famous characters (the best is Steven Seagal), as we continually see his secretary of state (Jonah Hill) touching the nose, suggesting cocaine addiction. It’s the administration Trump in disguise, it is not difficult to understand, but the underlinings betray a lack of confidence in one’s own means. Don’t Look Up it is cinema screamed so that the last of the Netflix viewers understand the metaphor and to be faced with refined satire more than the usual comedy.
The point of view is that of post-Trump cinema, which tells not only a total distrust of the system, but also a profound one towards America and the Americans. “They are not smart enough to be as evil as you think they areIs the way Jennifer Lawrence he explains to conspiracy theorists that the leaders he has met cannot be prey to the complicated assumptions they make, because they are simply not that smart. It is the perfect exemplification of post-Trump sentiment and the sense of democratic superiority. Too bad indeed that in doing this McKay is well-intentioned to take the side of the wise. Don’t Look Up it is a film that continually tells the viewer that the idiots are the others, the problem is the others and the others are always the ballast that prevents the world from improving or saving itself.
Not only the heads of state but also the oppression e fake news from social media, the ambiguity of the media that do not seek the truth but what is convenient and finally also the most respected and titled scientists who let themselves be bought by the big technology companies and again, obviously, the tech companies interested in profits and personal data. The teasing is always a lot of fun, with hilarious ideas at times, but it starts from a heralded superiority of someone who does not put himself in the film and in the criticism but who feels himself better and who says the same thing to the public. If the big ones comedies classic Italians have always criticized their own public, without withdrawing from the gloomy portrait, Don’t Look Up confirms to his audience that he is right and that they are not the ones to be mocked. He bleats and wins favors, points his finger and saves himself. So the summary he makes of the events of the last few years is never aimed at an original point of view or to unleash a new awareness but to give someone a fool by making herds all together, so as to be safe from criticism.