Just as he called Snowpiercer - his film about class revolution set in a dystopia - his “hallway movie,” he has called Parasite his “stairway movie.” It is an upstairs-downstairs film that explores every available rung on the ladder of class aspirationalism. Parasite, Bong’s latest, gut-twisting, Cannes Award–winning film, is no different. As with many of his films, Bong Joon-ho has his eye on the superstructure that binds society together and continues to grind down the bones of its protagonists long after the final frame. Despite the unspeakable horrors each character has witnessed, the world still spins, impassive and unmoved by the preceding events. The world appears unchanged, but they are no longer the same. We are republishing the piece ahead of the 2020 Academy Awards, during which Parasite will compete in the Best Picture field, among other categories.īong Joon-ho movies tend to end where they begin: The detective in Memories of Murder returns to the ditch where he discovers one of the serial killer’s first victims the titular mother in Mother dances, her arms swaying like wheatgrass the little girl Mija returns to the countryside after saving her pet from a slaughterhouse in Okja. This article was originally published in 2019. The director explains his coda: “I thought it was being real and honest with the audience.”
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