The disparity between the haves and have-nots has been a cinematic narrative for the reason that silent period. The previous decade demonstrated how common these strains on Western societies are from all corners of the globe. Whether or not Bong Joon-ho’s “Parasite” or Park Chan-wook’s “No Different Selection” from South Korea, Ruben Östlund’s European-centered “Triangle of Disappointment,” Chloe Zhao’s “Nomadland,” Wim Wenders’ Japan-set “Good Days,” or a slew of different movies, themes of financial inequality have moved on from the awkwardness of overly optimistic globalization, to usually, abject desperation.