Films find themselves with exactly the opposite dilmmena, and increasingly must take short cuts in terms of characterization, substituting some type of extremity (action, horror, physical/verbal violence, etc.) in order to keep the mainstream audience from getting restless. This is not really a new phenomenon, but it seems to have crossed a threshold in the past ten years or so and has now begun to permeate many of the so-called "art films" as they, too, search for ways to shock.
Perhaps the creators of MOTHER! and GET OUT believe that such is necessary to force people out of complacency, but they may be doing more damage than good. The maker of DETROIT tried to remind us about the prevalence of racism but found herself excoriated by so-called "liberals" who either don't want to stomach an extended sequence demonstrating the actual sickness underlying the issue or need to rewrite/recast the narrative of victimization to suit an inchoate agenda that seems destined to exacerbate the problem rather than take steps to solve it. The crudity of the character arcs in THREE BILLBOARDS were, I think, deliberately structured to point this out, but did so at the expense of realism.