We asked you what was missing from our 21st Century Classics series, and your answer came through loud and clear.
In 2019, Parasite became the first foreign language film ever to win the Academy Award for Best Picture. It also won the Oscars for Best Director, Best Original Screenplay and Best International Film — and the Palme d’Or at Cannes. Parasite is predicated on a critique of class inequality. The Kims, a poor family of four, reside in a cramped basement apartment where they struggle to make ends meet, stealing nearby Wi-Fi signals and folding pizza boxes for a delivery joint to make money under the table. Sick of their underclass existence, they set their sights on the Parks, a rich family looking for an English tutor for their teenaged daughter. The crafty Kims plot and scheme, and soon infiltrate the affluent home one-by-one, each of them manipulating their way into household gigs without the Parks realizing that they’re related. However, once they’re settled in, things don’t go according to plan.
Bong contrasts and skewers these two family units while casting a critical gaze at the system that pits them against one another. Darkly funny and palpably urgent, Parasite is a universal tale of economic disparity, social polarization, and human desperation that does not fit conveniently into any one simple category: it is a satire, tragedy, and allegory all at once and not least a supreme entertainment.
Brilliant and deeply unsettling… Bong’s command of the medium is thrilling […] the movie’s greatness isn’t a matter of his apparent ethics or ethos — he’s on the side of decency — but of how he delivers truths, often perversely and without an iota of self-serving cant. The slapstick becomes more violent, the stakes more naked, the laughs more terrifying and cruel.
Manohla Dargis, New York Times
What makes Parasite the movie of the year — what might make Bong the filmmaker of the century — is the way it succeeds in being at once fantastical and true to life, intensely metaphorical and devastatingly concrete.
AO Scott, New York Times
Bong Joon-ho
Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong
South Korea
2019
In Korean with English subtitles
Academy Award, Best Film; Palme d’Or, Cannes Film Festival
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Credits
Screenwriter
Bong Joon Ho, Han Jin-won
Cinematography
Hong Kyung Pyo
Editor
Yang Jinmo
Original Music
Jung Jae Il
Production Design
Lee Ha Jun
Also in This Series
These movies speak to our times and push the boundaries of the art form — the true modern classics we’re confident will withstand the test of time.
Lady Bird
Greta Gerwig's first film as writer-director is a delightful, painful comedy about "Lady Bird" McPherson (Saoirse Ronan), a Sacramento teen on the point of swapping high school for college, and her hard-working mom, Marion (Laurie Metcalf).
Silence
This sober, probing examination of faith, ego, cruelty and compassion is the most underrated film from the often under-valued latter half of Martin Scorsese's brilliant career; a passion project, about Catholic missionaries in 17th Century Japan.
Synecdoche, New York
Charlie Kaufman wrote Being John Malkovich, Adaptation and Eternal Sunshine of the Spotless Mind -- all great, all successful -- then turned director with Synecdoche, which is a masterpiece and which basically went unseen. It's overdue rediscovery.
