'Parasite': a cinematographic masterpiece on class and poverty with international recognition
In 2020, Parasite won four Oscars and was the first foreign-language film to win the Oscar for best picture (92nd Academy Awards). This cinematic masterpiece is one of my favourite movies thanks to its original screenplay, magnificent cinematography and poignant themes.
Class and Poverty - a global theme
Mainly, the film's director Bong Jun-Hoo addresses the theme of poverty and class through the integration of a poor family into a rich family through deceit and fake degrees. This leads to themes regarding outcasts and the subsequent humiliation which is also present in Hollywood films like Joker (2019) by Todd Phillips (source). These two movies are remarkably similar in their portrayal of marginalisation and of people taking matters into their own hands to rectify injustices they are victims of.
Distinct national elements
Thanks to its address of international themes, Parasite has attracted an international audience that can relate to the characters' journeys. Being brought in by global themes, extraordinary cinematography and surprising screenplay, this international audience is also exposed to themes and contexts that are unique to South Korea's national socio-geopolitical context. Indeed, the presence of the cellar
system inside the house and of the half cellars where the Kim family lives are
a symptom of the looming danger of the omnipresent tension between North and
South Korea and the situation of poverty found in the country (source BBC). This can serve the purpose of education and raise awareness of national narratives in South Korea and the socio-geopolitical context.
International Recognition
Through its nominations, wins and international recognition, Parasite has paved the way for the recognition of foreign language films on the international stage. Particularly, the increased nomination of
Korean films for international awards also testifies to the global recognition of
Korean cinema Aside from the perplexing
cinematography, its Oscar for best original screenplay demonstrates that
national cinema can have an international impact and provide powerful stories.
Overall, Bong Joon-Ho’s win at the
Oscars could contribute to new
international opportunities for national cinema on the Hollywood stage and the diffusion of international narratives in mainstream cinema. This would help to extend the US market outside of its anglophone bubble and take risks concerning film consumption. If this is indeed what will happen remains to be seen. Cinema does not have a language and is in and of itself a universal language. Whoever would critique de biggest movie awards for rewarding a cinematic masterpiece with Best Picture just because it is not English-speaking is not appreciating cinema's infinite storytelling power. Bong Joon-Ho has proven that cinema is indeed a world language and that a film does not need to be English-speaking to be recognised internationally and in Hollywood.
The 92nd Academy Awards were a historic night indeed!
