[Published at The Playlist] You’ve seen Lakeith Stanfield everywhere recently in a flurry of supporting roles including in the Oscar-winning “Get Out,” Netflix’s remake of “Death Note,” and a recurring role on Donald Glover’shit show, “Atlanta.” In “Sorry to Bother You,” Stanfield finally gets shot as a leading man.

READ MORE: Boots Riley’s ‘Sorry To Bother You’ Is Visionary [Sundance Review]

“Cassius Green is sort of the central figure of this story in this alternate universe, which I found to be really fun and [it] mirrors ours.” Stanfield recently told THR at Sundance. “[There were] a lot of cool similarities with the guy that I shared and I liked, and I really liked his journey. I could identify with it, you know, rags to riches.”

Stanfield’s career continues to take off exponentially. He is expected to star in “The Girl in the Spider’s Web,” the sequel to David Fincher’s “The Girl with the Dragon Tattoo.” Here is the official synopsis for “Sorry to Bother You.”

Cassius Green (Lakeith Stanfield), a 30-something black telemarketer with self-esteem issues, discovers a magical selling power living inside of him. Suddenly he’s rising up the ranks to the elite team of his company, which sells heinous products and services. The upswing in Cassius’s career raises serious red flags with his brilliant girlfriend, Detroit (Tessa Thompson), a sign-twirling gallery artist who is secretly a part of a Banksy-style collective called Left Eye. But the unimaginable hits the fan when Cassius meets the company’s cocaine-snorting, orgy-hosting, obnoxious, and relentlessly optimistic CEO, Steve Lift (Armie Hammer).

In addition to Stanfield, Thompson, and Hammer, “Sorry to Bother You” also stars Steven Yeun and Danny Glover (whose tip for success to Stanfield is to speak like a white man) as fellow telemarketers, Terry Crews, Omar Hardwick, and David Cross and Patton Oswalt in hilarious voice-over roles as Stanfield and Hardwick’s “white voices,” respectively.

“Sorry to Bother You” marks musician, writer, and director Boots Riley’s directorial debut. It will screen at SXSW on March 11, it is the centerpiece of the San Francisco International Film Festival on April 12th, and it hits theaters on July 6, 2018, courtesy of Annapurna Pictures, who put their sentiment about the upcoming film quite bluntly: “We fucking love this movie.”