Corey Finley despises the top 1%. There's no surprise that his films are rich with anti-capitalist subtext. The foundations for all three of his recent features are based on the abnormalities of the working-class in America. As a result, his filmography demonstrates different perspectives on the wealthy and beautiful, through a strictly analytical lens.

In Thoroughbreds, love defies commerce through the connection of two young women. The film prominently focuses on their plot to assassinate a rich and abusive patriarch. The film toys with the power-dynamic of the two individualistic women — one expressive due to her subsequent wealth and the other expressionless due to a suppression of wealth. In return, Finley draws sympathy to the solitude and interior lives of both characters and their woeful situation. In Bad Education, greed takes hold of a group of entitled teachers, as they continuously deceive the working class by transferring funds to their own self-righteous criminality. Based on true events, the film brings forward a different light on the problematic education network of the early 2000's. Bad Education demonstrates the drawbacks of human-capital — a domino-chain which often leads greedy intentions to the destruction and malpractice of our strong-willed education network.

With Finley's latest venture, the American auteur transports his narrative to the stars with his first science-fiction feature. Orbiting around the colonisation and business ventures of a unique alien species proclaimed as the ‘Vuvv'; Finely boldly connects different areas of the species' sociological and economical impact. Landscape with Invisible Hand works best when it directly parallels its absurdist satire with our current generation's plight for wealth. The craving for human experience and desires are not sustainable within the context of the Vuvv's assimilation on Earth. Finley toys with images of the post-war boom, as the Vuvv attempt to restructure humanity with their new-order commands and the consumption of their newly colonised resources.

Sex work is explored through the context of ‘courtship broadcasts' — an immersive livestream utilised as the narrative's prominent instigator for conflict. As the Vuvv desperately crave for an experience distinctly human, Finely positions his protagonists in cruel and unusual circumstances. Courtship broadcasts are the new pornographic entertainment in Finley's universe; a decadent reminder on how the industry often abuses and frames sex-workers with misconceptions regarding their practice. As a bi-product of their misconduct, the protagonists are stigmatised and legally sued for the Vuvv's beneficiary. Albeit its profound subtext, Finley undercuts the severity of his character's conflicts. The film's visual pastiche is charmingly poorly-rendered, built in tandem with various elongated sequences of passionate world-building. The end product is charmingly reminiscent of Robert Rodriguez's Spy Kids franchise — a comparison which diminishes the severity of its commentary upon arrival.

The character's at the core of Landscape with Invisible Hand's political dissertation are often humiliated for the growth of the alien species. Nuclear family role-play is implemented within the film's head-scratching mid-act gambit. The sub-plot focuses on the post-war integration and revival of misogynistic and discriminatory practices; found both within the workplace and at home. Yet, the film's final plea and cry for resistance is when Finely focuses on the alien's monopolisation of culture. Throughout the film, Finley focuses on the dangers of propaganda. Art is colonised to ensure the Vuvv's system never fails in their own perpetration of capital greed. The cautionary subplot creates a rather poignant mirror to our current exploitative society — a promotion of militarism and nationalism found frequently in big-budget Hollywood productions.