Good question, I guess it wouldn't be explicitly anticapitalist, and the director probably wasn't going down that route. However, it clearly highlights the morose psychic alienating wasteland of life under an end-stage neoliberal hellscape. The ending is very doomer this way.

I haven't thought about the reasoning/evidence too much as to why exactly, so this probably won't be convincing. One point of evidence is how the protagonist, a depressed "sigma male" type character, has to seek spiritual refuge by the end of the movie in a cope play from the 19th century Russian Empire based on the philosophy of Christianity, in its most beastly, oppressive form. No friends or close family come to mourn the death of his wife, whom he couldn't confront about her multiple affairs due to his fear of losing her, being left alone in a cruel world where everyone is either hostile or indifferent. He could barely make time to mourn the arrest of his lead actor due to the rush of meeting the production deadline. The driver moves to South Korea of all places by the end of the film, to move forward from her tragic childhood marked by having to drive her abusive mother to work in order to make ends meet. All the while they are both tormented by a sense of Christian guilt for supposedly "killing" their family members, blaming themselves for the tragedies. The entire movie so excellently portrays alienation, grief, and depression to the extent that it can be construed as a criticism of the damaging spiritual effects of the neoliberal political economy.