Parasite / Pain and Glory / Contemporary Chinese

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Welcome to film spotting we've been reviewing Bongino hose films here on the show since two thousand six his monster movie the host was our first experience with the director's work which combined genre film making with social commentary and often comedy sometimes a little horror thrown in as well I was looking back Josh Oh pierce notes just prior to coming into the studio and it turns out the host reviewed with the original co host on the show now our producer Sam the next Bunkum we saw and talked about mother with Mattie then you came in to talk about Snow Piercer so we're now into two films from bomb long where we don't have a new film spotting host so I think that says something promising about our future yes we're committed I guess Ocho okay we both did where we both on that show well no we were both on that show I can't remember either but OCA- I try not to think about very much not because I didn't necessarily like it it's just so disturbing yeah it really is and you do get that with Bong on occasion not reviewed here on the show but movie I definitely recommend two thousand three's memories of murder from Bongino his latest film parasite just made it to Chicago last weekend and we are going to talk about it here in a second but we do also want to mention that we're GonNa talk about the second film and our contemporary Chinese Cinema Marathon Fruit Chan's the midnight after comes to us from Hong Kong and it's another one that likes to mix all these different cinematic styles together it's a blend of science fiction history and comedy and probably seven other words that we could throw out came out in two thousand fourteen and was made in the wake of some major political protests in Hong Kong long and here we are in two thousand nineteen protesters again on the streets of Hong Kong we will see how all of that does or doesn't influence our experience with the film but I our review of Bong Jun Ho's parasite I wanNA start Adam by jumping back to the aforementioned snow piercer in that bond film Tilda Swinton looks out at the scraggly lower class citizens live in the steerage section of that title train and tells them you suffer from the misplaced optimism of the doomed as we mentioned parasite also has class issues on its mind the movie opens on a struggling but scrappy South Korean family we've got out of work father play by song Kang Ho the star of a handful of other bond films and a mother played by Jang Hygiene as well as a brother and sister played by Choi Woo Shik and six Oh damn there probably those characters in their teens or early twenties I would say now from their semi basement apartment the Kim family watches at St level the world pass them by if not drunkenly piss on their building they're not in the best neighborhood when the sun happens into a tutoring job with an obscenely rich family the Kim see an opportunity with a few white lies and some scheming they try to find ways each of them can be of service the Parks Lee Sunken is Mr Park and show Yo Jong is the mrs now for a while things seem to be working for all parties involved but we do have the creeping sensation Adam that the lower class Kim's might also be suffering from the misplaced optimism of the doomed the class critique in Snow Piercer had all the subtlety of an axe fight appropriately parasite isn't quite that blunt but I don't think you could say it's subtle either hatchets are also involved at one point given all that Adam did you find that bonds new film had anything significantly different to say about class or is he highlighting income inequality just in a very different sort of setting here. Well I'm going to bow out of your question a little bit Josh because one I would need to rewatch nope Piercer to probably truly thoughtfully address that question and I would need a little bit more time with parasite this is still processing review we just both from the at screening but to that question of the commentary about class as we said it's really been a part of all of his films all the ones that I've seen any way not just in snow pair Suba going back to the host going back to mother there elements of it in memory of murder as well and I think the genius of Bong has always been not so much what he's trying to say but how he says it the new and inventive ways he's been able to tell what really is one of the oldest stories one of the oldest conflicts that goes back to the very beginning of civilization I agree with you completely that this movie maybe seems to be a little bit more subtle than Snow Piercer definitely doesn't have the camp element that you get particularly with that Tilda swinton character but before we really get into how Bong Explores the issue of class here and really what makes him so ashland filmmaker just a general comment having just come out of it we both really didn't know anything about this movie we knew basically at minimum that it had some thing to do with class and we did expect that but otherwise had no real idea even picking up all these comments these raves coming out of film festivals and all these tweets and letterbox comments about it we'd manage to not really have anything spoiled for us this movie was a surprise from start to finish for me but when you're seeing all these people that we really do trust and our tastes even align with just rave about this movie you go into it expecting transcendence not just smart and really L. Mater entertaining it a little bit provocative no it's gotta be borderline sublime and despite those high expectations bog June absolutely nails it here at least for me when it starts the movie high was according to wasn't snow piercer but actually one of the best films of last year from here Kazu Coretta shoplifters because that's a movie that opens just like this movie does with a family fallen on hard times they're out of work they are skimming to survive and that's what we get here and then we remember or reminded fairly quickly in this movie that this is wrong film and that he would sooner cut the heart out of the movie and show it to you that actually give you a lot of heart and there is a satirical element to this movie it's absolutely incisive when it comes to class distinctions it doesn't pull any punches about showing how loathsome almost everyone in the film can be we're going to be very Acre because we want all of you to have the same unspoiled experience we just did but then without resorting really to any sentimentality or convention party he also manages to make virtually all of those same loathsome people tragic or at least tragic in their own unique ways and they talk about classical Hollywood cinema the Lubitsch touch how about the bunk touch. I'm GonNa give you a moment without giving away any of the significant details that comes I think about three here's the way through the movie and at this point I've already been swooning over the camera movement the composition the lighting the occasional use of slow motion that just team so perfect the score which I think is wonderful here sometimes light and sweeping very orchestral and then it gets progressively more haunting and unhinged just has the story does and then you get this moment the does three things all at once and every Bongino film manages to give you at least one moment like this or the totality thirty of the film does this to you it's a moment where you laugh out loud followed immediately by recoiling in horror and not horror movie horror real genuine shock it's something terrible the just happened to someone and the crassness the absolute indecency on the part of the person who committed the act all while being an author of how it unfolded the cinematic dance of it the actual choreography of camera and actors and editing and the thing is I know you know exactly what when I'm talking about can I just ask does it involve a kick it done okay maybe benefits that you are two seats away from me and we had the same exact I mean did you go through that same yeah sequence of thought and you know and you're you're hinted at this as well but part of that whole package you described is also the understanding of why the act took place yes and being on the side of the person who committed it a little bit just as much as your other end yeah exactly which gets to what you're saying about how he handles all these characters shoplifters definitely came to mind for me of course a Japanese family there and that here Kazu Kurita film but really the filmmaker I kept thinking of here and has not occurred to me and other bond films was your ghost lengthy mouse this is tone tone but yeah waiting for this this is the dark side of shoplifters it's could very well be your go slant film in the way it is unbelievable gene about how dark humanity can get but also as you were just describing uses humor not the way horror or dark comedy sometimes does lighten things but to drive that point home kind of twist the knife I'm doesn't offer us release through funny moment but implicates us in the humor's wall which is what happens in that sequence that you're talking

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