Directed By David Cronenberg
The first half of the film is structured around philosophical discussions of cyber-captialism, wealth, class, ego, equality, predetermination, rebellion, and commodification, the second half follows Eric outside of his limo his desperate, disastrous and malicious attempts at connecting with the real world.
Many viewers have noted that the second half of the film is more dramatic, dynamic, exciting, and unpredictable than the first, but this tonal shift is Cronenberg's intention, and an asset to the film, not a defect.
Being able to own anything has made desires empty of value.
Cosmopolis has Eric hitting on his assistant while his doctor gives him his daily prostrate exam.
The sex is mechanical, the texture is glossy, the violence unpredictable, and the sense of humor and self-mockery honest as a pie to the face.
This novel was written before the 2008 financial collapse or the Occupy Wall Street protests, and though Cronenberg is doubtless aware of these events and their similarities to the plot (Eric's genuine shock at the imperfections of his system are not far off from Alan Greenspan's similar surprise at the limits of his free market dream) he doesn't exploit them, staying ruthlessly close to the novel's original text, and letting the eeriness of the connections sink in for themselves.
Whether its freedom he finds or just "freedom to be poor and die", as his wife corrects, is something the film leaves open to viewers to decide.