Parasite
Bong Joon-ho’s electric powered Palme d’Or-winner is a smooth shiv of a film that doesn’t rely on its metaphors, or even allow them to survive; in contrast to some of the “Snowpiercer” auteur’s different excessive-idea paintings, “Parasite” is nothing if not eminently feasible.
A grounded enough tale approximately the members of a poor Seoul family (led by the terrific tune Kang-ho) who, one-through-one, each begin working for a nouveau riche own family in their smooth mansion up the hill, “Parasite” starts offevolved as an off-kilter class comedy of kinds earlier than sinking into something wild, unclassifiable, and burning with rage. As heightened as “Okja,” as practical as “mom,” and as coronary heart-in-your-throat haunting as “memories of homicide,” Bong’s cutting-edge is a madcap excoriation of life below the pall of late capitalism, and it leaves all people a touch richer at the stop of it. American viewers may not are becoming their hazard to look it but (Neon will start to launch the film stateside on October eleven), however “Parasite” already seems sure to move down as a defining expression of the inequality that reared its head within the early part of the 21st century, both in Korea and past.