Courtesy of America Magazine
Earlier this month, the 2020 Academy Awards took place at the Dolby Theater in Los Angeles, where the black comedy thriller “Parasite” made history as the first non-English film to bag a Best Picture win. The victory does not just mark multilingualism, but also the growing cognizance of “The Academy” as to the diverse narratives and stylistic film techniques that can constitute brilliant cinematography. “Parasite” did not just win on its own; it won among a minefield of American-centric and Eurocentric movies, which for the longest time were considered wholly representative of the silver screen.
The film follows the financially struggling Kim family – a mother, father, daughter and son – who are all employed by the wealthier Park family. The plot, which proves to be full of unpredictable twists, is seasoned with witty comedic incidents, courtesy of Bong Joon-ho, the film’s writer and director, previously known for the 2013 dystopian sci-fi film “Snowpiercer.” “Parasite” paralleled this movie in its ingenuity and the rawness of everyday emotions presented through carefully crafted scenes. It was a comedic thriller that appealed to enthusiasts of various film genres.
It’s important to note that “Parasite” was largely a jab at the capitalistic establishment. Film critics, moviegoers and Bong Joon-ho himself have reiterated this notion. The film does have unique, traditional nuances, such as a supporting character’s gifting of a suseok, or a rock considered a talisman in Korean culture, to the Kim family as a good luck charm. By and large, however, the film transcends ethno-racial barriers and comments on the larger, international issue of class division and income inequality.
Both South Koreans and Americans suffer from a widening wealth gap. Although presented as a comedy, the film touches on very real issues. That’s a big reason why “Parasite” was universally cherished. On the other hand, it was, ironic that a capitalistic institution like the Academy of Motion Picture Arts and Sciences chose to honor a film with an antithetical premise to classism and affluence.
There are a number of beautiful films released around the world each day. These films explore themes of love and war, family and friendship, truth and passion and more. Such themes are universal, just as the field of film is. We are all human and feel emotions that go far beyond languages and regionalisms. Prior to the invention of subtitles and closed captioning in the early 1900s, the world’s various film communities were inaccessible to one another. In the modern age, this is not the case. Movie enthusiasts can, and should, consume a diverse diet of films.
Bong Joon-ho delivered a heartfelt speech in Korean after accepting his award. His translator, Sharon Choi, did translate Bong Joon-ho’s words but could not possibly anglicize the depth his words held when uttered in his native language. On a foreign stage, an incredibly talented man proved to the world that the most poignant works of art don’t have to fit a West-centric model, and that the parasite of occidental dominance has started to come to an end.
