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?
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.
Memories of Murder may have put him on the international artform map and The Host may have hit a nerve with nerds everywhere, but Mother is where Bong Joon Ho comes into his own. The result is resplendent.
In Bong Joon Ho's Barking Dogs Never Bite, an unemployed grad student with a pregnant wife takes extreme action against a dog that has made his life hell -- a decision that comes to haunt him.
The question Bong Joon Ho's Mother comes back to repeatedly has to do with watching, and knowing.
Korea has quickly become a hot spot for some of the most engaging female film performances in the world. This reputation is only bolstered by Kim Hye-ja's sharp turn as the resourceful Mother. PopMatters interviews Director Bong Joon Ho.
Some consider Leos Carax, Michel Gondry, and Bong Joon Ho's Tôkyô a callous critical evaluation. In truth, it's a luxuriant love letter.
Taken together, the three movies in Leos Carax, Michel Gondry, and Bong Joon Ho's Tôkyô! create a frightful, smart, and lingering impression.
Beginning and ending with the superlative filmmaking of Jia Zhangke, traversing the nooks and crannies of the globe, PopMatters presents the 20 best international and indie films of 2007.
The buzz of 2006's Cannes festival, Bong Joon Ho's The Host offers all sorts of visual surprises.
Bong Joon Ho's Memories of Murder not only brings a fresh perspective to the forensics subgenre, but also thoughtfully considers Korea's political framework.
© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.
