Parasites is not only the best film of 2019, but the most accurate portrait of contemporary society in any medium. Neither journalism, nor politics, nor sociology, nor the other artistic disciplines have shown the skill and courage of Bong Joon-Ho. The Oscar must serve to break down the last barriers of those who insisted that they would never see Korean cinema, and with reason. Even the pompous New York Times felt compelled to explain why the fight literally to the death of the rogues against the thieves in a white collar or glove was the most important work of the year. Hollywood has endorsed this assessment, showing more intelligence than United Nations, the Monetary Fund or Davos. It is no accident that the awards coincide with the coronavirus, the new finding that a world divided into two halves does not fit on a single planet.
Meanings apart, Parasites is a Berlanga bloody translated into Korean, in the best shame of shameless cinema, with less scruples than complexes. It is the film that the Almodóvar of the overrated Pain and glory no longer has enough energy to face. The Korean production has a large debt with Yorgos Lanthimos de Canino, before the Greek director was tamed into impostures such as La favorite.
If Parasites has also served to dismantle the hoax of 1917 or that Godfather XXXVIII called The Irishman, Hunky-dory. By the way, it would be interesting to surface the only spectator of the camouflaged Scorsese television series that endured Netflix’s three and a half hours in a single sitting. The principal’s will dazzles the thrilling The wolf of Wall Street. As to Joker, is the movie that nobody in their right mind would see again. And the well-deserved Brad Pitt award recalls that Once upon a time … in Hollywood It is the version of Parasites translated into North American.