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And I knew that most nanny films centre on the white family.” Not this one. My mother did domestic work, so I had the experience of watching her put her dreams to the side to be a peripheral mother in other mothers’ narratives. The script emerged from Jusu’s experiences and observations: while at New York University’s graduate film school, she would see “all these Black and brown women pushing white children in pushchairs, and I was curious about that story. An increasingly strained relationship between employers and employee isn’t the only thing which affects Aisha’s mental wellbeing: creatures from west African folklore also begin to surface from her subconscious. The horror-tinged debut of the writer-director Nikyatu Jusu, it stars Anna Diop as Aisha, a Senegalese au pair caring for the daughter of a wealthy white Manhattan couple (Michelle Monaghan and Morgan Spector) while yearning for her own child back home.
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There are echoes of that film’s prickly class tensions in Nanny (25 November), which was snapped up by Amazon shortly after winning the grand jury prize at Sundance earlier this year. The whiff of a class war was already in the air before the pandemic made vivid the disparity between rich and poor: Bong Joon-ho’s Parasite, another Palme d’Or winner, scooped the best picture Oscar in early 2020 – just as Geffen was about to set sail, in fact. “Rich people are nice,” says Östlund, who shot the yacht scenes on board the Christina O. Here, the social order is upended, placing power and agency in the hands of those who were previously lowest on the pecking order the stinking rich and the disgustingly beautiful (including Harris Dickinson as a frowning model and Charlbi Dean as his influencer girlfriend) are now subject to the whims of the cleaner (Dolly De Leon), who is the only one among them with any survival skills. One said: “It’s like he wants to be first on the list for when the peasants revolt.” Others, which were accompanied by the hashtag #EatTheRich, forced him to change his Instagram settings to private.Īround the same time, lockdown and quarantine restrictions were interrupting production on Ruben Östlund’s comedy Triangle of Sadness (for UK release on 28 October), in which a luxury yacht captained by a sozzled Marxist (played by Woody Harrelson) is shipwrecked on a desert island. The post resulted in a barrage of replies. A t the end of March 2020, the billionaire David Geffen posted images from the Grenadines of Rising Sun, his 454ft, $400m superyacht, accompanied by a message reassuring the world that he was “avoiding the virus” and “hoping everybody is staying safe”.