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.
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.
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.