Sorry to Bother You (2018).
I know people want a good radical comedy, but that's not it. It's been a while so I can't remember everything about the film but there are some major points.
The protagonist gets wealthy by selling arms, then moves to an apartment in the sky where he essentially looks down on the people. At the end, he leaves it all behind because he realizes the fucked up nature of that life and moves back to his uncle's garage, but he kept some of furniture of the apartment and said something to the effect of like 'We're back to where we started but there's no reason we can't have some nice things.' These pieces testify as corpses of his class betrayal. He is, on the exterior, the garage which symbolizes working class politics and struggle, but within his garage, he has the desires and furnishings of one of the worst aspects of capitalism as his interiority awaiting a repetition. He never fully let go of, or totally rejected, the desired niceties—literal furnishings—of that lifestyle. The ideology lives on within him.
And the moment of Revolution, which brings the hope of the new world, is carried through by Capitalism's own dark creation. I think Riley wanted to show this classic idea, since Marx, that Capitalism has sown the seed of its own destruction. But this is not a protletarian revolution. It is a 'Equisapien' revolution. I think this shows Riley's pessimism that revolution is impossible. Humans are ready to betray their class and humanity as a whole for luxury and will never be the same, even if they have a moment of rectification, they will always remain stained and corrupted—the protagonist and the new garage. But these mutant, super-humans have the capacity because—I'm not entirely sure why anymore. The point being, humans are the ones who need to carry through an anti-capitalist Revoltion in real life and we need to do it by organizing with other fellow humans who have the revolutionary potential to see it through. We cannot wait for a literal new species/race to come into existence to save us from capitalism as a deus ex machina. This is almost a Communist's pseudo-superhero movie, with the super/antihero coming in when everything seems lost and saving the day. Just because it is some unattractive, monsterous creation of capitalism doesn't mean it necessarily has a different meaning from a typical superhero movie—don't worry, someone will come save you from yourself because you simply cannot do it yourself. Total lib fantasy where you still get to keep your ill-gotten treats.
I'll also mention this is totally on-brand for Boots Riley, the middle-class son of an attorney who wants to play at revolutionary but still keep his nice things that he's accustomed to having.