This chapter examines Soul Kitchen (2009, dir. Fatih Akin) and Toni Erdmann (2016, dir. Maren Ade) as contemporary examples of cinematic farce and discomfort humor, respectively. Both films explore themes of economic inequality, social ethics, and human connection. Drawing on E. Bruce Hayes’ Rabelais’s Radical Farce (2010), the chapter argues that Akin’s film celebrates camaraderie and detachment from materialism, culminating in a classic farcical twist: Zinos, its naïve protagonist, regains control of his restaurant, while the deceitful antagonist is punished. In contrast, Toni Erdmann employs discomfort humor to critique corporate greed and strained family relationships. Winfried’s absurd masquerade as Toni Erdmann challenges his daughter Ines’s profit-driven career as a migrant manager in Romania, exposing moral dilemmas and the dehumanizing effects of corporate capitalism. The film juxtaposes hospitable Romanian workers with unscrupulous German managers, emphasizing authenticity and social bonds over material success. Both films portray less affluent characters as morally upright, using humor to critique exploitation, deceit, and the abuse of others while reflecting positively on human values. While Soul Kitchen adopts a lighthearted tone with a series of comedic misfortunes, Toni Erdmann unsettles with unresolved comic tensions, showcasing the diverse potential of comedy to provoke thought and critique modern social structures.