We are often said to live in a time of distinctions or gaps: between politicians and ‘the people’, between haves and have-nots, between anywheres and somewheres, between people living in urban and rural areas. How are such distinctions played out, expressed, staged or even emphasised and exaggerated in the arts? Numerous contemporary films and series such as Parasite and Triangle of Sadness target economic, political or cultural elites indulging in their luxurious and decadent lifestyles while turning their backs at society at large, ignoring the hardship and suffering or even cynically exploiting the less well off. Do these works, and many like them, express a generally sensed discontent with the current societal order?