Bong Joon-ho’s ‘Parasite’ and the Geometry of Suffering
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?
bong joon-ho
The 35 Best Films of 2010
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.
Parasites: Montesquieu on the End of Civic Virtue in a Republic
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.
The 25 Best Independent / International Films of 2010
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.
Bong Joon-ho’s ‘Parasite’ Is a Uniquely Intelligent Satire
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.
Brash and Playful ‘Okja’ Is the Summer’s Activist Epic
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.
‘Snowpiercer’ Encapsulates Class Warfare In a High-Speed Train
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.
Train in Vain: Bong Joon Ho’s ‘Snowpiercer’
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.
