Lifestyle

Inside the secret poker games opening doors in L.A.'s art scene

Published

2 years ago

May 1, 2024

Inside the secret poker games opening doors in L.A.'s art scene

Artist Sarah Kim belongs to a poker group of up-and-coming art-world denizens. Part poker group, part art collective, they’re an equal mix of men and women, newbies and grinders, at varying levels of their creative careers.

Painter Sarah Kim realized soon after her move from New York to Los Angeles that learning Texas Hold ’Em would pay off. She’d heard whispers of an ultra-exclusive, high-stakes “art game” involving L.A.’s major artists, dealers and collectors going back decades. Trailing casino chip crumbs at gallery exhibits and artist studios, “It was clear to me that poker was a huge part of the art world in L.A.,” she said.

She tried her first hand at a game artist Isabelle Brourman hosted at Murmurs Gallery and soon fell in with an eclectic poker-playing group of local artists and curators. For Kim, whose landscape motifs tackle the anxiety of belonging, the felt-topped table became her social life raft and dealt her a newfound clarity and confidence.

“Being a woman in the art world, it’s like I’m playing the same game,” said Kim, who said thinking in bets has been one way to combat the volatile and, at times, cutthroat market. “I’m fighting for a literal seat at the table.”

Kim belongs to poker’s latest wave of underdogs pouring out from the creative cultural ferment. They’ve let the air out of the cigar-smoke-filled boys’ club and opened up the tables to a more diverse, inclusive and female-friendly pool of players. The storied L.A. poker scene — an obsession Tinseltown has self-mythologized since the Wild West — these days belongs to the emergent DIY art world. But the new guard has retained the fundamentals: a game as much about networking and camaraderie as card playing.

Poker is one of the few spectator games where the sexes compete on equal levels, yet 96% of professional players are men, according to the World Series of Poker. The series’ main event in Las Vegas last summer shattered the all-time attendance record of roughly 10,000 players. Still, it’s been nearly three decades since a woman made it to the final table.

A collage of six portraits of poker players who are also in the art world.

“Poker is not necessarily a hobby for the frugal, which is also why I think women haven’t historically played,” said Bita Khorrami of Casinola, which outfits sleek, private poker games for the cultural in-crowd. Her collaborator, Eddie Cruz — who started the streetwear boutique Undefeated — taught her the game on the promise that she’d become a better businesswoman. Khorrami, who cut her teeth in music and sports management, said it was the financial edge she needed. “When I have to counter someone in a negotiation, I’ll take a percentage of the money” from the playing funds, she said, which informs a raise, call or fold. “Whatever you’re gonna do is by percentage,” she said of bankroll management. “And the more you do those things, the more comfortable you are with it.”

Now, she and Cruz are going all in on Casinola as the first-of-its-kind creative collective and lifestyle brand rooted in poker. She joined on one condition: to not be the only woman in the cardroom. “My mission is going to be to bring women to poker,” she recalled telling Cruz. “Poker degenerates want to play with other poker degenerates,” she said. “They don’t want to be taking time necessarily to teach someone.”

They enlisted Jason Roussos, an art collector and pokerhead, to help retain their brand of backroom chic while also selling the idea of empowerment. “When things become too heavy or too reliant on one type of energy,” like the hypermasculine bro kind, he said, “that energy can take over a space.” Having more women brings a dynamic shift to the table, and lowering the barrier for entry often begins with smaller buy-ins with proper setups and dealers. Female-only live games are another incentive, like the time Casinola sponsored a poker night for Girls Only Game Club. “People sometimes use poker as a vice or form of escapism, but we’re using it as more of a socializing tool,” Roussos said.

Poker players Grant Levy-Lucero, in a Clippers sweater, Eric Kim in a baseball hat and Jason Roussos in a green hoodie

A standing woman offers a seated man something from a bowl.

Higinio Martinez and Liz Conn-Hollyn were among the 15 artists who contributed to the poker-themed group exhibit “At Home in the Neon,” held at Eric Kim’s house gallery.

Poker chips splayed on a table, a hand hovering over a few red chips.

A fraction of gallerist Eric Kim’s collection of 40,000 poker chips.

Eric Kim, who co-runs artist spaces Human Resources and Bel Ami, estimated “poker and art went gangbusters” when online gaming swelled early in the pandemic. After stay-at-home orders lifted, however, he noticed a low-grade culture shock among his friends at crowded openings and art parties. “I think a lot of people enjoyed the contained structure of socializing at a poker game,” he said.

He’s opened his doors to the arts community in the last couple of years, doling out free one-on-one coaching and hosting weekly Hold ’Em nights as a kind of league mentor. The home games draw from his years at casinos and underground venues around L.A. His collection of 40,000 poker chips helps too.

His Silver Lake setup is an equal mix of men and women, newbies and grinders, at varying levels of their careers. Turns out his learning pod had the makings of an artists collective. Kim and Lauren Studebaker, an associate director at Matthew Brown Gallery, staged a poker-themed group show last month. They exhibited work from 15 poker-playing artists around the domestic gallery and called it “At Home in the Neon,” a crib from art critic Dave Hickey’s love letter to Las Vegas.

Julianne Lee, a perfumer, infused plaster chips with a rare scent derived from whale vomit and called it “Who’s the whale” (a reference to a very rich but very bad poker player). Adam Alessi’s good-luck shrine had a rendering of Vanessa Rousso, nicknamed “the lady maverick of poker,” inside. Jake Fagundo’s “Bad Beat” depicted a couple in a warm embrace after a tough loss. “A lot of it was inside jokes for ourselves,” said Studebaker, who paraphrased a wry quote from “The Gambler” by Fyodor Dostoevsky: “You gamble with your friends because you like to see them humiliated.” The group has embraced how the game puts everyone on equal footing. “Losing in front of these people is a fast track to bonding,” she said. “I think the losing has been almost better for me than the winning.”

A framed Alexander Calder lithograph of three card players sits on the wood floor of a room.

A stray Alexander Calder lithograph of three card players.

Artist Ava McDonough, wearing sunglasses and a straw hat, hugs her poker chips close.

Artist Ava McDonough, another contributor to the poker-themed group show, hugs the pot.

Ten people play poker as seen from the kitchen, with wine, snacks and a laptop on the counter and art above them.

The scene’s marquee event today is the annual World Series of Art Poker (WSOAP), a highly guarded, 12-hour Hold ’Em marathon during so-called Frieze Week, when blue-chip galleries and high-rolling collectors jet into town for art fairs and their ensuing parties. “I look forward to it all year,” said artist Parker Ito, who at last year’s heads-up showdown lost to Jason Koon, arguably the best pro poker player today.

At the fourth WSOAP in March, Jonas Wood, “the reigning prince of contemporary painting,” screamed the ceremonial, “Shuffle up and deal.” His Warholian grasp on the art world was on full display as he glad-handed arrivistes from New York and Europe, clad in a sweatsuit made of cash (taken from Warhol’s silkscreen “192 One Dollar Bills,1962”). “This is my conceptual art project,” Wood said of his stylized homage to the early-aughts poker boom, when he came of age in the glow of the 1998 gambling movie “Rounders” and ESPN’s breathless tourney coverage.

Inside, Benny Blanco had his barber give him a lineup at the table. Tobey Maguire busted early but stayed to sweat the last hand of his friend Leonardo DiCaprio. Beyond the $500 buy-in, entry into the stacked poker den has become its own kind of currency, where talk of bad beats and mucked hands replaces the usual industry chatter. The last player standing wins $30,000 and a holy-grail 18-karat gold bracelet modeled after one awarded to the winner of the World Series of Poker.

Two women seated at a poker table, one covering her face, the other raking in the chips

The biggest bluff of the night: chocolate poker chips.

Sophia Amoruso made it to the final 25 out of 130 entrants. “Poker has taught me more patience than anything,” said the Nasty Gal founder and “Girlboss” author, now in venture capital. She’d recently started her own home game after playing after-hours at tech conferences and in VC circles. “To be at the table with the guy who founded Hustler Casino Live, that’s priceless,” she said. “Next week, he’s coming to my house, and I get to learn from him.”

The tournament’s brain trust — Jonas Wood, Eddie Cruz and Eric Kim — rounded up their splinter poker groups to join forces in 2020. “The idea was to find out who’s the best,” Wood recalled. They’d piggyback off Wood’s fabled “art game” in the studio he rented from Ed Ruscha between 2007 and 2017, a revolving door for the city’s “art illuminati,” as Kim put it. Gallerists like Jeff Poe and François Ghebaly rubbed elbows with celebrities like Ellen DeGeneres and Jack Black, and emerging artists faced off against billionaire collectors with increasing regularity.

This year, with past pros like Erik Seidel and Phil Ivey absent from the usual “pros versus Joes” lineup, Wood livestreamed the final tables on Instagram to his 154,000 followers and saw the chance to make good on his original idea to organize the only tournament of its kind — for artists, by artists. He envisioned a wild-card upset winning the biggest pot of their life. It almost happened.

The final 10 players included artists like up-and-coming painter Ross Caliendo, sculptor Matt Johnson and Wood’s ceramist wife, Shio Kusaka. The crowd roared when she was busted out in eighth place — the last woman and artist standing. Michael Heyward, chief executive of the holding company that owns Genius and Worldstar, went on to win. “I really wanted a broke artist or some unknown person to win $30,000,” Wood said.

Lifestyle

Washington National Opera leaves Kennedy Center, joining slew of artist exits

Published

5 hours ago

January 10, 2026

Press Room

Washington National Opera leaves Kennedy Center, joining slew of artist exits

A view of the John F. Kennedy Center for the Performing Arts, which the current board is calling the Trump Kennedy Center, in Washington, DC, on Dec. 26, 2025.

Brendan Smialowski / AFP via Getty Images

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Brendan Smialowski / AFP via Getty Images

The Washington National Opera is leaving the John F. Kennedy Center for the Performing Arts, its home since 1971.

Friday’s news, shared with NPR in a statement via email from the opera company, comes in response to new policies which the 70-year-old performing arts group said strain its financial model.

The Washington National Opera stressed the “amicability” of its decision to end its longtime residency at the Kennedy Center. But it said the center’s new business model, which requires productions to be fully-funded in advance, is incompatible with the usual mix of ticket sales, grants and donations that cannot all be secured ahead.

“Opera companies typically cover only 30-60% of costs through ticket sales, with the remainder from grants and donations that cannot be secured years ahead when productions must be planned,” the statement said.

The company added the model also does not accommodate its artistic mission, which aims to balance popular works such as West Side Story, slated for May 2026, with more obscure and experimental operas, such as the little-known Scott Joplin work, Treemonisha, scheduled for March. “Revenue from major productions traditionally subsidizes smaller, innovative works,” the statement said.

Artistic director Francesca Zambello, who has led the company for 14 seasons, shared her regrets in a statement with NPR, while also looking to the future.

“I am deeply saddened to leave the Kennedy Center,” Zambello said. “In the coming years, as we explore new venues and new ways of performing, Washington National Opera remains committed to its mission and artistic vision. Our repertory will continue to include diverse offerings, from monumental classics to more contemporary works, presented in bold visual productions with first-class musical values.”

In addition to a continued presence for now on the Kennedy Center website, the opera company launched its new independent website within a few hours of its announcement.

“After careful consideration, we have made the difficult decision to part ways with the Washington National Opera due to a financially challenging relationship,” the Kennedy Center wrote in an email to NPR on Friday. “We believe this represents the best path forward for both organizations and enables us to make responsible choices that support the financial stability and long-term future of the Trump Kennedy Center.”

On social media, Kennedy Center executive director Richard Grenell said it was the center’s decision to sever ties with the opera company — and not the other way around.

“The Trump Kennedy Center has made the decision to end the EXCLUSIVE partnership with the Washington Opera so that we can have the flexibility and funds to bring in operas from around the world and across the U.S.” Grenell said. “Having an EXCLUSIVE relationship has been extremely expensive and limiting in choice and variety.”

Grenell reposted his message on Saturday after he was alerted that his X.com account had been hacked and the original message had been removed.

President Donald Trump was named chairman of the Kennedy Center’s board in February 2025. His name was added to the Kennedy Center in December following a vote by the Trump-appointed members of its board. Since the power of the venue’s board to rename the center is currently in dispute, NPR continues to refer to the Kennedy Center using its legal name.

A string of exits

The Washington National Opera’s departure is the latest and perhaps most significant in a string of artist exits from the cultural institution since Trump took over the institution.

Backlash from ticket-buyers, slated performers, and certain board members—including Shonda Rhimes—was swift.

Artists are continuing to cancel performances. But one of the first to do so was a touring production of the musical Hamilton. In a statement on X in March 2025, producer Jeffrey Seller said he opposed the Trump administration’s ousting of many Democratic board members.

“The recent purge by the Trump Administration of both professional staff and performing arts events at or originally produced by the Kennedy Center flies in the face of everything this national center represents,” wrote Seller.

Actress and writer Issa Rae followed suit with a post on Instagram, cancelling her sold-out March performance.

A slew of additional artists and performance companies canceled after the board’s vote to rename the center “The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts.” Congress has not yet authorized the name change.

Grenell has responded to many cancellations on social media, condemning the artists. After Banjo player Béla Fleck canceled his performance because he said the center had become “political,” Grenell wrote on X, “You just made it political and caved to the woke mob who wants you to perform for only Lefties.

“This mob pressuring you will never be happy until you only play for Democrats. The Trump Kennedy Center believes all people are welcome—Democrats and Republicans and people uninterested in politics. We want performers who aren’t political—who simply love entertaining everyone regardless of who they voted for.”

Find a running list of these cancellations below.

Sonia De Los Santos

On Jan. 8, singer-songwriter Sonia De Los Santos announced on Instagram that she was canceling her upcoming February concert at the Kennedy Center. “As an artist,” wrote De Los Santos, “I treasure the freedom to create and share my music, and for many years I have used this privilege to uplift the stories of immigrants in this country.”

De Los Santos, who was nominated for a Latin Grammy for best children’s album in 2018, stated that “I do not feel that the current climate at this beloved venue represents a welcoming space for myself, my band, or our audience.”

Béla Fleck performs onstage during the 67th Annual Grammy Awards Premiere Ceremony at Peacock Theater on Feb. 2, 2025 in Los Angeles.

Leon Bennett/Getty Images for The Recording Academy

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Leon Bennett/Getty Images for The Recording Academy

Béla Fleck

Performing at the Kennedy Center “has become charged and political, at an institution where the focus should be on the music,” wrote American banjo player Béla Fleck about his scheduled appearance with the National Symphony Orchestra in an official statement posted to Instagram on Jan. 7. “I have withdrawn from my upcoming performance with the NSO at The Kennedy Center,” he wrote. “I look forward to playing with the NSO another time in the future when we can together share and celebrate art.”

The 18-time Grammy winner has performed at the Kennedy Center in the past.

Stephen Schwartz

The composer and lyricist for the beloved musicals Wicked, Godspell and Pippin was expected to host a gala fundraiser for the Washington National Opera in May 2026. On Jan. 2, Schwartz announced his withdrawal. According to NBC News, Schwartz reflected that the Kennedy Center was “founded to be a political home for free artistic expression for artists of all nationalities and ideologies.” Today, he said, making an appearance “has now become an ideological statement.”

Richard Grenell quickly responded to Schwartz’s withdrawal, calling it a “bogus” report in a statement posted on X and saying reporters were plagiarizing a “fake @RollingStone story.” Schwartz was “never signed,” Grenell wrote.

Reports from NBC and other outlets, including Variety, have refuted this claim, publishing screenshots showing that Schwartz was promoted on the Kennedy Center’s website prior to his cancellation.

Stephen Schwartz attends the 2025 Songwriters Hall Of Fame Induction Ceremony at Marriott Marquis Times Square on Jun. 12, 2025 in New York City.

Theo Wargo/Getty Images for Songwriters Hall Of Fame

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Theo Wargo/Getty Images for Songwriters Hall Of Fame

The Cookers

The seven-piece band of veteran jazz musicians announced shortly before Dec. 31 that they would not perform at the Kennedy Center for “A Jazz New Year’s Eve:”

“We know this news is disappointing,” reads the statement on their website. “We are not turning away from our audience, and do want to make sure that when we do return to the bandstand, the room is able to celebrate the full presence of the music and everyone in it. Our hope is that this moment will leave space for reflection, not resentment.”

The statement went on to say, “We remain committed to playing music that reaches across divisions rather than deepening them.”

Chuck Redd

The American jazz drummer and longtime host of the Kennedy Center’s annual Christmas Jazz Jam chose to cancel his 2025 appearance when he “saw the name change on the Kennedy Center website and then hours later on the building,” according to a statement sent to the Associated Press.

On Dec. 27, the Kennedy Center announced its plan to file a $1 million lawsuit against Redd. “Any artist canceling their show at the Trump Kennedy Center over political differences isn’t courageous or principled—they are selfish, intolerant, and have failed to meet the basic duty of a public artist: to perform for all people,” said Kennedy Center spokesperson Roma Daravi.

In a letter shared with NPR, Richard Grenell condemned Redd: “Regrettably, your action surrenders to the sad bullying tactics employed by certain elements on the left, who have sought to intimidate artists into boycotting performances at our national cultural center.”

Doug Varone and Dancers

“The renaming for me has kind of pushed me off a cliff,” said choreographer Doug Varone on Dec. 31, when he spoke with NPR’s Morning Edition. Varone, who was set to showcase members of his Doug Varone and Dancers company at the Kennedy Center in April 2026, pulled the performance.

John F. Kennedy, for whom the Kennedy Center was established as a living memorial, “believed in the arts as kind of the beating heart of our nation,” said Varone.

“I believe that the level of artistry has dropped drastically since the administration change, and the employees that were responsible for the quality of the work at the center have all been let go.”

After canceling, the company started a crowdfunding campaign to help offset its financial loss. It raised over $42,000, exceeding its $40,000 goal.

Magpie

In a statement posted to Facebook on Jan. 5, Greg Artzner of the American folk duo Magpie announced the decision to pull their Feb. 28 concert, set to play on the Kennedy Center’s Millennium Stage.

“There isn’t really anything defensible” about Trump, said the statement from Artzner and Magpie’s Terry Leonino. Although they had planned an evening of songs with messages of unity and hope, “We are personally and philosophically in agreement with the belief underlying the growing boycott,” they said. “The stand being taken by fellow artists we respect and admire has created a moral picket line. We stand with them in solidarity.”

An update on Jan. 9 said that Magpie would now be performing a longer version of that concert on Feb. 21 at Seekers Church in Washington, D.C., now called, “The Traveling John F. Kennedy Center for the Performing Arts Restoration Roadshow.”

Kristy Lee

Folk singer Kristy Lee canceled her Jan. 14 Kennedy Center performance due to “recent efforts to impose political branding on the Center,” according to a statement posted on her website.

“Public arts spaces should be free from political influence,” Lee said in her statement. “I step back out of respect for artistic freedom and the Kennedy Center’s founding mission, not in opposition to its staff, artists, or audience.”

On Jan. 14, Lee plans to host a live-streamed concert instead, titled “Showing Up: From the Kennedy Center to the Couch.”

Low Cut Connie

Philadelphia rock and roll band Low Cut Connie pulled their concert, set for February 2025, “Upon learning that this institution that has run non-partisan for 54 years is now chaired by President Trump himself and his regime,” according to a statement posted on their Facebook page.

“Maybe my career will suffer from this decision,” wrote band frontman Adam Weiner, “but my soul will be the better for it.”

Rhiannon Giddens

In Feb. 2025, folk singer Rhiannon Giddens announced her departure from the Kennedy Center lineup in a social media statement. “I cannot in good conscience play at The Kennedy with the recent programming changes forced on the institution by this new board,” wrote Giddens.

Giddens transferred her May 11 concert, “Old-Time Revue,” to The Anthem concert hall, also in Washington, D.C.

Balún

The Puerto Rican band, based in Brooklyn in New York City, canceled their Kennedy Center performance, which had been set for Feb. 27, 2025.

According to a statement posted to Balún’s Instagram account, “recent events made it clear that the space no longer aligns with our values. Our safety, integrity, and commitment to justice come first.”

Issa Rae attends HBO’s final season premiere of “Insecure” at Kenneth Hahn Park on Oct. 21, 2021 in Los Angeles, California.

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Issa Rae

Shonda Rhimes attends the premiere of "Wicked" at the Museum of Modern Art on Thursday, Nov. 14, 2024, in New York.

“Thank you so much for selling out the Kennedy Center for ‘An Evening With [Me],’” wrote Issa Rae, the acclaimed star and creator of HBO’s Insecure, on her Instagram stories page in Feb. 2025. “Unfortunately, due to what I believe to be an infringement on the values of an institution that has faithfully celebrated artists of all backgrounds through all mediums, I’ve decided to cancel my appearance at this venue.”

“Hamilton”

In March 2025, Hamilton producer Jeffrey Seller announced on X that the Tony-award winning musical phenomenon would no longer run as scheduled at the Kennedy Center. According to the statement, the decision was made both for political and for business reasons. Not only was there “a new spirit of partisanship,” the statement read in part, but “it would be “financially and personally devastating to the employees of Hamilton if the new leadership of the Kennedy Center suddenly canceled or re-negotiated our engagement. The actions of the new Chairman of the Board in recent weeks demonstrate that contracts and previous agreements simply cannot be trusted.”

The Kennedy Center was swift to respond to Hamilton‘s cancellation. On X in a now-deleted post, Richard Grenell accused Hamilton star and creator Lin Manuel-Miranda of being “intolerant of people who don’t agree with him politically,” and stated that the decision was “a publicity stunt that will backfire.”

In the months since the show’s cancellation at the Center, Hamilton has continued to sell out theaters on Broadway and in venues nationwide who host its North American touring company.

U.S. Marine Band

The U.S. Marine Band announced in February 2025 that the Marine Band would not perform in the Equity Arc Wind Symphony event, a collaboration between Marine Band members and selected high school musicians.

The U.S. Marine Band, known also as “The President’s Own” was founded by an Act of Congress in 1798, making it the country’s oldest professional music organization.

Composer Kevin Charoensri, whose music had been scheduled to be performed by the band at the event, stated in a Facebook post that Diversity, Equity, and Inclusion (DEI) orders resulted in the cancellation of the Equity Arc concert:

“It has come to my attention that the program, one based on equity and diversity of voices, is no longer supported at the federal level under this administration,” Charoensri wrote. “It was for this reason that the program and performance were canceled.”

The U.S. Marine marching band performs in the 120th Tournament of Roses Parade January 1, 2009 in Pasadena, California.

Alberto E. Rodriguez/Getty Images

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Jennifer Vanasco edited this story.

Lifestyle

Take a winter hike with the Los Angeles Times and Zócalo Public Square

Published

6 hours ago

January 10, 2026

Press Room

Take a winter hike with the Los Angeles Times and Zócalo Public Square

Happy new year! I’m Jaclyn Cosgrove, an outdoors reporter at the L.A. Times.

The deluge of rain and snow has paused, and the sun is out in Los Angeles. It’s a beautiful time for a winter hike in L.A. County.

I’d love for you to join me and Times wellness writer Deborah Vankin, alongside our friends at Zócalo Public Square, at 9 a.m. Jan. 31 as we hike through Placerita Canyon Natural Area, an east-west canyon east of Santa Clarita with lush oak woodland, chaparral and a seasonal creek.

We will start our trek with a gentle stroll to the Oak of the Golden Dream, where the first authenticated gold discovery by colonizers took place in California in 1842.

Then Vankin and I will lead 40 hikers along Canyon Trail, which will be 3.6 miles round trip. The hike includes an area where natural “white oil” bubbles up from the earth, which locals reportedly used to collect to fill their Ford Model T fuel tanks.

Parking is free and easy. We will meet in front of the Placerita Canyon Nature Center (19152 Placerita Canyon Road in Newhall).

We will have water bottles and snacks for attendees, but you’re also welcome to bring your own. You must be 18 or older and will be required to sign a waiver prior to attending. (Please consider arriving 15 minutes early to leave time for waiver signing.)

Grab a spot on Tixr.

Note: The hike will be rescheduled if rain is in the forecast.

A winter hike with the Los Angeles Times and Zócalo Public Square

Lifestyle

In ‘No Other Choice,’ a loyal worker gets the ax — and starts chopping

Published

18 hours ago

January 10, 2026

Press Room

In ‘No Other Choice,’ a loyal worker gets the ax — and starts chopping

Lee Byung-hun stars in No Other Choice.

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In an old Kids in the Hall comedy sketch called “Crazy Love,” two bros throatily proclaim their “love of all women” and declare their incredulity that anyone could possibly take issue with it:

Bro 1: It is in our very makeup; we cannot change who we are!

Bro 2: No! To change would mean … (beat) … to make an effort.

I thought about that particular exchange a lot, watching Park Chan-wook’s latest movie, a niftily nasty piece of work called No Other Choice. The film isn’t about the toxic lecherousness of boy-men, the way that KITH sketch is. But it is very much about men, and that last bit: the annoyed astonishment of learning that you’re expected to change something about yourself that you consider essential, and the extreme lengths you’ll go to avoid doing that hard work.

Many critics have noted No Other Choice‘s satirical, up-the-minute universality, given that it involves a faceless company screwing over a hardworking, loyal employee. As the film opens, Man-su (Lee Byung-hun) has been working at a paper factory for 25 years; he’s got the perfect job, the perfect house, the perfect family — you see where this is going, right? (If you don’t, even after the end of the first scene, when Man-su calls his family over for a group hug while sighing, “I’ve got it all,” then I envy your blithe disinterest in how movies work. Never change, you beautiful blissful Pollyanna, you.)

He gets canned, and can’t seem to find another job in his beloved paper industry, despite going on a series of dehumanizing interviews. His resourceful wife Miri (Son Ye-jin) proves a hell of a lot more adaptable than he does, making practical changes to the family’s expenses to weather Man-su’s situation. But when foreclosure threatens, he resolves to eliminate the other candidates (Lee Sung-min, Cha Seung-won) for the job he wants at another paper factory — and, while he’s at it, maybe even the jerk (Park Hee-soon) to whom he’d be reporting.

So yes, No Other Choice is a scathing spoof of corporate culture. But the director’s true satirical eye is trained on the interpersonal — specifically the intractability of the male ego.

Again and again, the women in the film (both Son Ye-jin as Miri and the hilarious Yeom Hye-ran, who plays the wife of one of Man-su’s potential victims) entreat their husbands to think about doing something, anything else with their lives. But these men have come to equate their years of service with a pot-committed core identity as men and breadwinners; they cling to their old lives and seek only to claw their way back into them. Man-su, for example, unthinkingly channels the energy that he could devote to personal and professional growth into planning and executing a series of ludicrously sloppy murders.

It’s all satisfyingly pulpy stuff, loaded with showy, cinematic homages to old-school suspense cinematography and editing — cross-fades, reverse-angles and jump cuts that are deliberately and unapologetically Hitchcockian. That deliberateness turns out to be reassuring and crowd-pleasing; if you’re tired of tidy visual austerity, of films that look like TV, the lushness on display here will have you leaning back in your seat thinking, “This right here is cinema, goddammit.”

Narratively, the film is loaded with winking jokes and callbacks that reward repeat viewing. Count the number of times that various characters attempt to dodge personal responsibility by sprinkling the movie’s title into their dialogue. Wonder why one character invokes the peculiar image of a madwoman screaming in the woods and then, only a few scenes later, finds herself chasing someone through the woods, screaming. Marvel at Man-su’s family home, a beautifully ugly blend of traditional French-style architecture with lumpy Brutalist touches like exposed concrete balconies jutting out from every wall.

Murder is lost in translation in 'Decision to Leave'

There’s a lot that’s charming about No Other Choice, which might seem an odd thing to note about such a blistering anti-capitalist screed. But the director is careful to remind us at all turns where the responsibility truly lies; say what you will about systemic economic pressure, the blood stays resolutely on Man-su’s hands (and face, and shirt, and pants, and shoes). The film repeatedly offers him the ability to opt out of the system, to abandon his resolve that he must return to the life he once knew, exactly as he knew it.

Man-su could do that, but he won’t, because to change would mean to make an effort — and ultimately men would rather embark upon a bloody murder spree than go to therapy.