A son of one of the USA’s wealthiest dynasties bankrolls a Marxist collective in rural Massachusetts, funds protest movements abroad and seeks to dismantle the capitalist order that produced him. All About the Money, directed by Sinéad O’Shea and premiered in the World Cinema Documentary Competition at Sundance 2026, follows this contradiction through James “Fergie” Cox Chambers Jr, a communist multimillionaire whose political convictions collide with his access to extraordinary wealth.

O’Shea traces Chambers’ attempts to build alternative social structures while remaining bound to the systems he opposes. The film opens in Alford, Massachusetts, where a Marxist-Leninist community occupies a carefully maintained rural enclave. Several residents are paid to care for land and buildings, presenting a functioning collectivist experiment. The benefactor behind the project is gradually revealed to be Chambers, heir to the Cox dynasty. His father, James C Chambers, is descended from James M Cox, founder of Cox Enterprises, one of the largest media conglomerates in the USA.

Initially framed as an insider’s view of the ultra-wealthy, the documentary introduces Chambers as a willing participant, openly discussing his lifestyle and politics. Tattooed, outspoken and deliberately provocative, he positions himself as a defector from his class. He outlines plans to transform the Alford site into a professional revolutionary training centre, aiming to construct an antidote to the capitalist conditions that enabled his privilege.

The apparent stability of the Massachusetts commune unravels following the Hamas attack of 7 October 2023. Chambers’ public statements become more radical and his activism more direct. He begins funding Palestine Action US and becomes involved in organising an attack on drone manufacturer Elbit Systems in Merrimack. An ensuing investigation leads to the arrest of one Alford community member. As legal pressure mounts, Chambers leaves the United States and relocates to Tunisia.

The Marxist-Leninist experiment recedes as Chambers establishes a new life abroad. He converts to Islam, marries his partner and intervenes financially to rescue a local football club from bankruptcy, an act that turns him into a public figure. The pattern repeats itself: ideological commitment intertwined with financial power and personal reinvention.

The Alford commune remains the film’s structural anchor, retrospectively reframed as a fragile construct sustained entirely by Chambers’ money. All About the Money ultimately reveals itself less as an examination of the ultra-rich as a class than as a character study of an individual who resists easy categorisation. Chambers emerges as an unreliable narrator: philanthropist and provocateur, radical and narcissist, denouncing capitalism while benefiting from its protections. His politics are uncompromising, yet his personal trajectory is marked by chaos and constant movement.

O’Shea adopts an observational approach, allowing Chambers to explain himself in extended, and in one case confessional, passages. At one point, he speaks about childhood abuse, institutionalisation and prolonged isolation, offering a partial framework for his behaviour. The director occasionally interrogates these accounts but lets Chambers speak his mind, which allows space for performative self-stylisation that even Chambers does not have fully under control.

Ultimately, All About the Money is less concerned with exposing elite wealth than with observing how unlimited resources shape political radicalism. Whether Chambers is a dangerous extremist or a sincere revolutionary remains unresolved. What is clear is that his financial insulation sets him apart from others engaged in political activism, shielding him from consequences that are rarely so easily deferred.

All About the Money was produced by Ireland’s SOS Productions and Denmark’s Real Lava. Its international sales are handled by Submarine.