Okja director Bong Joon-Ho’s Parasite em> won the Palme d’Or in a unanimous decision at 2019 ‘s Cannes Film Festival. This is the first time a Korean director has won the festival’s top honor.
Cannes jury president Alejandro G. Inarritu said, “We all shared the puzzle of the unexpected way this film made us through different genres and spoke in a funny, whimsical, tender path — with no arbitration — of something so related and urgent, so global in such a local film, with such a beautiful efficiency of media, and an increased understanding of what film really is. We is well mesmerized when we saw it, and it maintained proliferating and originating: that’s why it was a unanimous decision.”
The director’s fifth film ever- the history of two poverty-stricken siblings who infiltrate a rich household- assembles an unclassifiable oeuvre characterized only by his remarkable style and memorable tales. Variety acclaims it as a logical and admirable advancement 😛 TAGEND
The Korean trickster god is above all known for his uncategorizable movie skirmishes which tumble bloodily down the genre stairs stumbling each step — comedy, horror, drama, social narration, slasher, creature piece, carnage whodunit, manifesto for vegetarianism — on the way. But while Parasite em> certainly cycles through more than half that roster, the laugh is darker, the snarl more vicious and the sob more despairing than we’ve ever had from him before. Bong is back and on clever model, but he is unmistakably, roaringly ferocious, and it registers because the target is so deserving, so enormous, so 2019 : “Parasite” is a tick fat with the harsh blood of class rage.
Vulture’s Bilge Ebiri determined the movie similarly genre-defying 😛 TAGEND
When I interviewed Bong years ago, he is said that he affection genre movies but dislikes category gatherings, and now he upends that theme: Parasite is not a category movie, but it sometimes exerts — carefully, playfully, deliriously — genre conventions and all the premises that “re coming with” them. You stop thinking Parasite be transformed into one thing, but it stops turning into something else. It mutates, like a real parasite trying to hang on to its host.
Polygon’s Karen Han wasn’t the only one to mention the multiple applause violates the movie payed, as well as her own visceral reaction to it 😛 TAGEND
Watching the Jenga tower wobble is exhilarating, and led to not only one but two bursts of clapping during the critics’ screening at Cannes( the only cinema I attended to earn any cheering before approvals wheeled ). The contrast between the tender equilibrium the characters must retain and Bong’s bombastic, pull-out-all-the-stops storytelling is a pure adrenaline rush — I was shaking when I left the theater, and remained that way for at the least an hour.
Stephen Dalton at the Hollywood Reporter announced it “cumbersomely planned and heavy-handed in its social commentary, ” as well as somewhat overlong, but a quality film regardless. He heaped special accolade on Bong’s team, calling out the individual talent it took to make this film happen.
The achievements are uniformly solid, with special ascribe due to the child and teen actors. Hong Kyung-pyo’s high-gloss cinematography mixes glowing candy-shop hues with kinetic accuracy, while Lee Ha-jun’s production design is typically brilliant, especially the elegantly minimalist Park family mansion, which suffices as both palatial fortress and ominou prison. Spliced into Jung Jaei-il’s dread-laden score, smells posies of classical music provide bustling comic counterpoint as well as wry commentary on the disdainful culture evaluates being slowly eviscerated onscreen.
Film School Rejects said here film’s key points of contention will be whether or not it’s “perfect” 😛 TAGEND
Good luck arguing against its gorgeous, inimitable, all-encompassing craftsmanship. The film is laugh-out-loud funny, an clever fusion of humanity and absurdity, thrilling until its final depraved minutes, a pristinely shot modern architectural feast for the eyes, a razor-sharp socio-economic critique, and a enigmatic operatic drama…Everything is quickly and aggressively edited, abound with superb, geometric cinematography. He divulges just enough to let you in on what’s going on but hinders enough from you to always leave you at the edge of your seat in a state of exhilarated revel. It’s Bong’s frugal screenwriting and resourceful direction that starts Parasite such a accomplishment, and the plot epitome ends here.
The Guardian called Parasite ” a luxuriously watchable and sardonic anticipation drama.”
It lopes as purringly smooth as the Mercedes driven by the lead character, played by Korean star Song Kang-ho. Parasite is a bizarre black comedy about social status, endeavour, materialism and the patriarchal family unit, and people who accept the idea of having( or loaning) international civil servants class.
IndieWire’s David Ehrlich says that “with Parasite , Bong finally becomes a genre unto himself.”
Giddy one moment, unbearably tense the next, and always so entertaining and fine-tuned that you don’t even notice when it’s changing gears, Parasite takes all of the hits you expect to find in a Bong film and diminishes them down with clockwork precision. The movie doesn’t feel smaller than the globe-trotting Okja , exclusively more constricted…the movie included a number of inspired sequences that pulsate with the same, chaotic, morally related madness of Bong’s signature moments.
Parasite does not already have a wide handout date.