'I Love Boosters' hits theaters May 22 and the trailer is already breaking the internet

There is a new comedy coming to theaters this spring that is unlike anything audiences have seen in years, and its first official trailer makes one thing immediately and unapologetically clear this film is not here to play it safe. I Love Boosters opens exclusively in theaters on May 22, and the footage released to introduce it is as bold, chaotic, and genuinely funny as the premise it is built around.

The trailer announces itself with live phone footage and an escalating sense of energy that never lets up, dropping audiences directly into the world of a fashion entrepreneur with a grievance, a plan, and absolutely no intention of letting anyone stand in her way.

The setup that drives everything

At the center of I Love Boosters is a fascinatingly specific world. The film follows a fashion entrepreneur running what she calls Triple F — Fashion, Forward, Filanthropy a brand built on the intersection of style and giving back, even if the spelling of that last word is, by her own cheerful admission, a branding choice rather than a proofreading oversight. She is creative, driven, and operating in a world where the margins are under constant pressure from organized retail theft that she describes with colorful specificity.

The trailer establishes her as someone with real vision and real problems, a combination that immediately generates both sympathy and comedy. When she discovers that a rival designer named Christie Smith has allegedly stolen her original designs, the grievance stops being abstract and becomes deeply personal. In her world, that kind of theft is not just a business problem. It is a declaration of war.

The plan that sets the whole film in motion

What makes I Love Boosters genuinely original is what happens next. Rather than taking the conventional path of legal action or confrontation, the protagonist decides that the most effective response to having her designs stolen is to empty out every Metro Designer location in the Bay Area taking back what she believes is hers through the same underground retail economy that has been costing her business for years.

The logistics of this plan require coordination, and the trailer makes clear that she is not going to pull it off alone. A crew assembles, a strategy takes shape, and the second half of the footage delivers the kind of escalating chaos that the best heist comedies have always been built on things going sideways in spectacular ways, unexpected obstacles arriving at the worst possible moments, and a cast of characters whose commitment to the mission is matched only by their capacity for creating new problems in the process of solving old ones.

The wig subplot introduced in the trailer’s closing moments deserves special mention. It arrives late, it makes very little immediate sense, and it is absolutely hilarious in a way that suggests the film has layers of absurdist comedy waiting beneath its central premise that the trailer is only beginning to hint at.

Why this film arrives at exactly the right moment

I Love Boosters lands in a cultural moment when conversations about retail theft, brand ownership, design credit, and who profits from whose creativity are genuinely alive and contested in ways that give this comedy unexpected depth beneath its irreverent surface. The film is not making an academic argument about any of those things, but it is clearly aware of them, and that awareness gives the humor a texture that feels grounded in something real even when the situations on screen are completely over the top.

The trailer positions I Love Boosters as the kind of original comedy that theaters have been waiting for — specific in its world, unpredictable in its plotting, and driven by a central character whose confidence and creativity make her impossible not to root for even when her methods are thoroughly questionable.