The problem Bong Joon-ho presents in Parasite is geometrical. Is this the only shape of society we can imagine as workable, as livable? Is this livable?
The best films of 2010 include a fake documentary, a comedy about Jihad, a vampire story NOT dealing with tacky tween romance, a haunting hillbilly noir, and an elegant tale about clones. Not necessarily the usual cinematic suspects.
Bong Joon-ho's scathing Parasite reflects Montesquieu's critique that the decline of civic virtue causes great social inequality, which then incurs greed, envy, and violence.
Journey back to 2010 to experience the best independent and international films from a time when our biggest worries involved "wars on terror". These films are highlighted by a host of superb documentaries, a stellar film from China, and one of the finest works of "hillbilly noir" ever.
South Korean director Bong Joon-ho’s latest film, Parasite, combines the epic class warfare of Snowpiercer with the zany activism of Okja, resulting in a brilliant, many-layered exploration of social stratification and capitalism.
Bong Joon Ho's uneven but still electrifying caper, Okja, about a little girl and her giant pig on the run from villainous Tilda Swinton swirls a sharp dose of slapstick comedy into its pop satirical narrative.
By compressing its revolutionary struggle into such a tightly compressed and void-encircled space, Bong Joon-Ho's evocative post-apocalyptic actioner, Snowpiercer, becomes furiously kinetic but metaphorically overburdened.
Bong Joon Ho's Snowpiercer is a terrific, dark dystopian nightmare mixed with flashes of Terry Gilliam-esque absurdity and the filmmaker's own fractured frame of reference.