On March 13, 2025, film enthusiasts were introduced to the gripping new film "Крушение мира" (English: "Rich Flu"), marking another ambitious endeavor from Spanish director Galder Gaztelu-Urrutia, best known for his breakout hit "Платформа" (English: "The Platform"). Starring Mary Elizabeth Winstead, the film provides a fresh twist on the disaster genre by sparking discussions around wealth inequality and societal collapse through the lens of an apocalyptic virus targeting the affluent.
The narrative centers on Lora, portrayed by Winstead, who is climbing the corporate ladder as a successful film producer. With dreams of increasing her wealth, her plans take a chilling turn when the spread of a deadly virus begins to cull billionaires, leaving them to face the consequences of their privilege. The deadly virus, dubbed the "wealth virus," becomes the catalyst for global chaos, upending Lora's once-promising future.
Upon learning about the disastrous outbreak, Lora finds herself rallying alongside her estranged husband, Tony (Rafe Spall), and their daughter, Anna (Dixie Egretz), as they forge through this chaotic new world filled with desperation. The film does not shy away from the darker aspects of human nature, showcasing how the rich—once isolated within their affluent enclaves—are forced to confront their stark vulnerabilities.
Through the plot, the film deftly critiques capitalism, weaving together themes of social inequality and moral decay. Gaztelu-Urrutia provokes viewers by emphasizing the contrasts between the wealthy and the impoverished, challenging the notion of morality within capitalism. The audience learns early on through Lora's experiences, as she navigates her ambitions and plans for life, which swiftly become overshadowed by the looming threat of viral eradication.
A key point of satire within the film is conveyed through bizarre visuals; for example, the film features wealthy characters with glowing teeth, symbolizing their status but also highlighting their mockery within the chaotic environment. This image transforms them from figures of envy to subjects of ridicule, beings whose material wealth now ironically turns against them.
Despite the serious undertones of social critique, some critiques of the film have emerged. Critics argue the film skims the surface of its themes, lacking depth when it came to investigating the origins of the virus. Questions linger: Why does the virus only afflict the wealthy? What are its means of transmission? Gaztelu-Urrutia's approach focused more on societal consequences rather than the mechanics behind the outbreak, leaving viewers questioning the logic of the narrative.
Critics noted the film's struggle to balance between intense drama and sharp satire. The initial premise presents intriguing ideas, with moments of potential profundity, but as the plot progresses, it veers off-course, losing narrative focus. While items like social discontent and apocalyptic scenarios resonate with contemporary audiences, the delivery felt lackluster and far too reliant on cliché contrasts between the rich and the poor.
Alternative narratives within disaster films, such as illustrating the survival struggle among the poor, are also explored here; the once-sought pleasures of wealth become the harbingers of distress as social order deteriorates. Gaztelu-Urrutia has encountered caution from critics for maintaining the metaphor but failing to round it out with nuanced analyses.
Throughout its runtime, "Крушение мира" attempts to bring viewers on an emotional rollercoaster, but struggles to hit the mark. Despite Winstead's committed performance as Lora, who transitions from career-driven to desperate fugitive, there is a sense of monotony within the film's narrative. Strong messages about social inequality are muddled by simplistic storytelling, leaving viewers underwhelmed.
There are poignant moments where the emotional weight intended lands, offering glimpses of hope and resilience—even for those who end up marginalizing and discarding the affluent. Lora embodies both the frustration and vulnerability experienced by those placed under extreme duress, yet the execution feels disjointed and overly simplistic.
After watching "Крушение мира," audiences are left to grapple with its reflection on society. The film aims to incite discussion about capitalism's consequences, yet it may fall short of leaving lasting impressions. It does invoke laughter, distilled critiques of societal norms, as well as moments of recognition, but it is unlikely to remain as memorable or impactful as its predecessor, "Платформа," which had more lyrical storytelling and character development.
Indeed, the film's attempt to work as both drama and satire brings forth engaging topics; yet the substance feels shallow. The provocative concept of rich irrevocably experiencing the chaos they’ve participated in evokes discussion, but its execution fails to deliver emotional resonance. So, as viewers dissect the film, it is evident: "Крушение мира" will likely garner attention for its bold premises but risks sinking under the weight of its unsophisticated layers.
Overall, "Крушение мира" will have viewers questioning, "What does it mean to be rich?" and reflect on the broader inequalities lurking beneath the surface—a question worth exploring, even if the film itself falters.