The filthy rich receive a lot of rapids nowadays. Yes, not in the cream of reality, of course, but in fiction. In Joker and Hustlers, these are straight attacks, while TV shows like The Loudest Voice, MotherFatherSon and Enjoyable Succession up close let us be fascinated and frightened by the shameless manipulation of monetary power by the besieged.

Steven Soderbergh also wants to be on a corner when, just like in the play Erin Brokovich, he tells the true story of a woman of the people who stands up to economic power. This time, however, the fight is conducted in a completely different, ironically ironic tone.
Meryl Streep makes a small beating effort as retiree Ellen Martin whose drowning when a tourist ferry goes to the bottom. The responsible company promises millions in damages but it soon turns out that it has been blown by its insurance company, so no compensation will come, and Ellen sets out in search of those responsible.

This is a neat , tight and screwed comedy about the economic meltdown that in the Swedish media was named Panama documents. The focus was the law firm Mossack Fonseca, which was one of the world's largest when it came to tax evasion and the creation of shell companies and mailbox companies. Many of the world's banks were involved in the scandal that forced statesmen to resign and caught greedy celebrities making a prayer.

Yes, you remember, it would be only three years since this one topped the flyers.

Although Streep gets a lot of product time, it is the slippery types behind the company, Jürgen Mossack and Ramón Fonseca Mora, who are our cicerones. Here, in the style of Gary Oldman and Antonio Banders respectively, in figurative smokings and hilariously broken English, which slides around in the film as the shell companies' Bill & Bull. With dry martinis in hand and with their eyes on the camera, they give us their side of the matter, and at the same time a quick course in the corrupt world of the financial world (that is, to put it mildly, no nice picture we get of this duo, who now not quite surprisingly has sued the streaming giant and producer Netflix for slander).

The pedagogy is subtle and easy-going, explains the context for lesser-known like signed, but much to the drama it is not. Mostly a lustification about less funny contexts. This economic clown is divided into several chapters, the first being called The meek are screwed (about: The meek ones are driven) which refers to Jesus' talk that it is ultimately the patience that will inherit the earth. Laundromat says the obvious: that it's just snowmobile, to keep the people on the carpet, so that power can control undisturbed.

In other words, there is no news that is being conveyed, but nevertheless you are bumping into the magnitude of the flint land - which of course continues as usual as soon as the waves have settled.
Steven Soderbergh and screenwriter Scott Z. Burns (on Jake Bernstein's book) realize that it is a depressing truth they convey, hence the cheerfully ironic appropriation (which in the long run becomes a bit complacent and tedious). Soderbergh also sprinkles with a whole bunch of stars to make the medicine slide down easier.
In addition to the aforementioned, celebrities such as Matthias Schoenaerts, Sharon Stone and David Schwimmer also want to be a part of giving predatory capitalism a taste.

In the last pictures the gloves go off. Where we get a brief fire speech that ends with Meryl Streep standing in a pose borrowed by the Statue of Liberty and calling for a fight:
Time for action!

Thus, a clever and true beauty, subtle as a private jet.

Premiere on Netflix October 18 .