The Oscars have again surprised the world, and, this time, thankfully, not because they gave an award to the wrong film. Parasite, a South Korean movie, has officially become the first foreign-language film to win the most prestigious award – Best Picture, a fact that is especially remarkable given that it was also nominated in the Best Foreign Language Film category and won there too. The Oscars have also been overly “white” this year, did not recognise some (more art-house) films and acting which are also deserving of praise and nominations (that acting in “The Lighthouse“!), and, for the year that is supposed to celebrate women in cinema-making and acting, did not acknowledge great acting and films made by women (for example, no women nominees in the category of Best Director). I will only very briefly comment on the 2020 wins in the following categories: Best Picture, Best Actor, Best Actor in the Supporting Role and Best Cinematography. Continue reading “The Academy Awards 2020: Some Commentary”
Parasite or Gisaengchung is a South Korean dark comedy-thriller from Bong Joon-ho (Okja ((2017)) that won the grandest award at the Cannes Film Festival 2019 – Palme d’Or. I can now happily report that this was a much deserved win and Parasite will be my best film of the year. This film must be seen to be believed – it has been a long time since I enjoyed a movie that much. In Parasite, a Kim family, consisting of a mother, father, daughter and son, is unemployed, poor and living in a basement of one derelict building. Their son, Kim Ki-woo, meets with his old friend and the latter offers him a chance to tutor for awhile one girl of a rich Park family. Kim Ki-woo successfully “infiltrates” the rich Park family, presenting himself as a knowledgeable and strict teacher, and, while doing so, does not forget about his family at home, trying to also secure for them employment positions in the Park family. What follows is the unbelievable chain of events with twists along the way. Director Bong Joon-ho is both subtle and outrageous in his direction and writing, as he tries to satirise a situation whereby two opposite segments of society (the rich and the poor) make a contact that leads to unexpected reactions and a delightful whirlpool of the funny and the macabre. Exquisitely and stylishly presented, Parasite is both darkly hilarious and delightfully shocking, setting a new sky-high standard for black comedy – the style of Bong Joon-ho. Continue reading ““Parasite” Review”
“You don’t have to convince yourself that a mandarin orange exists, you have to forget that it does not exist.” (Haemi, when explaining the art of pantomime in “Burning”).
In Chang-dong Lee’s film “Burning”, Jongsoo (Ah-In Yoo) is a country lad who rekindles friendship and begins a romance with Haemi (Jong-seo Jeon), a girl from his childhood, only then to discover that Haemi vanishes soon after meeting the handsome and wealthy Ben (Steven Yeun). “Burning”, which received much praise at the Cannes Film Festival 2018, is the kind of a film commenting on which people would pride themselves by saying that they liked it, only for others to secretly tell themselves that they do not. Slow-moving or “burning” films with intricate psychological character studies and with unhealthy doses of inexplicability are fashionable nowadays, and, in that vein, “Burning” also would like to take its place among this elite unfathomable group of films. However, the result is a clumsy, uncompelling and excruciatingly tedious film that is as much of a mystery as any non-mystery and that has as much high tension as waiting patiently for a catch when fishing (only then, predictably, not catch anything substantial at the end of the day).