The problem Joon-ho presents in Parasite is geometrical. Is this the only shape of society we can imagine as workable, as livable? Is this livable?
Francesco Rosi's tale of peasant life in a remote part of fascist Italy challenges the notion of the State and the individual's role in and duty to its preservation.
George Marshall's western spoof, Destry Rides Again, has a serious central premise; can society function without the threat of violence?
Preston Sturges' The Lady Eve demonstrates that somewhere within the convolution of deception (self-deception included) lies a truth that persists all the same.
Critic Roger Ebert was frustrated with Abbas Kiarostami's Taste of Cherry because the film subverts our desire to understand another -- the very core of cinema's intent.
The pugnacious characters in Cassavetes' Husbands couch their inauthenticity in bullying. For them, anger is more authentic than placidity, rage more authentic than sadness, cruelty more authentic than kindness.
Escape in John Sturge's The Great Escape is a tactical mission, a way to remain in the war despite having been taken out of it. Free Will is complicated.
Paul Schrader's The Comfort of Strangers presents the discomfiting encounter with another —someone like you—and yet entirely unlike you, mysterious to you, unknown and unknowable.
There's a song performed in James Whale's musical, Show Boat, wherein race is revealed as a set of variegated and contradictory performances, signals to others, a manner of being seen and a manner of remaining hidden, and it isn't "Old Man River".